Heart of dance

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One of a series of stunning ads by Y&R of Chicago for the River North Chicago Dance Company which give the old “body as machine” a contemporary and rather erotic twist. (I would have credited the photographer but the ad agency site is the usual Flash interface which refuses to work in any of my browsers.) The picture below is an older version of the meme by Fritz Kahn from 1926.

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Via Homotography.

Previously on { feuilleton }
Tiger Lily
Chris Nash
Peter Reed and Salomé After Dark
Felix D’Eon
Dancers by John Andresen
Youssef Nabil
Images of Nijinsky
The art of Hubert Stowitts, 1892–1953

A Journey Into Vision & Sound

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The Million Volt Light & Sound Rave (1967).

More psychedelia as Paul Gorman at The Look alerts me to an exhibition of work by Pop artist Dudley Edwards running this month at 3345 Parr St, Liverpool. Edwards was a part of the Binder, Edwards & Vaughan design collective in the 1960s, renowned for their light shows and psychedelic murals. BEV were Beatles favourites for a while, the photo below shows Edwards painting the piano upon which Paul McCartney wrote Getting Better. They also painted vehicles, including a Cobra sports car for doomed Guinness heir Tara Browne whose crash death was immortalised in A Day in the Life. And their Million Volt Light & Sound Rave event at the Roundhouse was distinguished by a unique Beatles sound collage, Carnival of Light, which McCartney was talking up last year, saying it ought to be given a proper release.

A Journey Into Vision & Sound will focus on Edwards artistic output from this halcyon period and will feature a selection of images that have been archived for over forty years including photography by Lord Snowdon and the mural Edwards painted for Ringo Starr in 1967. (More.)

A Journey Into Vision & Sound runs until November 30, 2009. There’s more about the work of Dudley Edwards and BEV at The Look.

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Dudley Edwards painting Paul McCartney’s piano.

Previously on { feuilleton }
Through the Wonderwall
Psychedelic Life
Psychedelic vehicles

Booklife by Jeff VanderMeer

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Yet another of the titles I’ve been working on this year—yes, it’s been a very busy time—Booklife took several months of back and forth on the part of author, editor and designer before we had something that everyone was happy with.

Offering timely advice in an era when the burden of production and publicity frequently falls on authors, this essential reference reflects on methods for being focused, productive, and savvy in the craft of writing. Discussing a wide range of essential topics for self-promoting authors, this important guide explores questions such as How can authors use social media and the internet? How does the new online paradigm affect authors, readers, and the book industry? How can authors find the time to both create and promote their work? and What should never be done? Through good-humored encouragement, practical tips of the trade culled from 25 years of experience as a writer, reviewer, editor, publisher, agent, and blogger are shared. Including topics such as personal space versus public space, deadlines, and networking, the benefits of interacting with readers through new technologies is revealed.

After all the work it’s been good to see the book receiving such a positive reception this week, with a feature spot on Boing Boing and a high placing in Amazon’s book listing. Back in February I wrote a lengthy post about the evolution of the cover design, and that post has been reproduced at the Booklifenow site which serves as an online extension of the book itself. Web designer Luís Rodrigues did a great job of matching the site design to the cover.

Update: The cover at unaccountably large size on Wired.com

Previously on { feuilleton }
Designing Booklife

The Red Book by Carl Jung

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This month is a major one in book publishing as Carl Jung’s magnum opus The Red Book, or Liber Novus, which has remained unpublished for 80 years, is issued in a facsimile edition. Selections of pages have been turning up in reviews and online previews which easily whet the appetite.

In his late 30s, Jung started writing a book called The Red Book. The Red Book is part journal, part mythological novel that takes the reader through Jung’s fantasies — hallucinations he self-induced to try and get to the core of his unconscious. … The book detailed an unabashedly psychedelic voyage through his own mind, a vaguely Homeric progression of encounters with strange people taking place in a curious, shifting dreamscape. Writing in German, he filled 205 oversize pages with elaborate calligraphy and with richly hued, staggeringly detailed paintings. (More.)

Jung maintained a lifelong fascination with alchemical symbolism and many of these pages resemble the kind of plates one finds in alchemical treatises such as the Splendor Solis, if that book had also contained additions from William Blake and Hildegard von Bingen. The only drawback is the price: at £120 this isn’t a casual purchase, but then this is over 400 pages of full-colour at a big size, 45.7 x 30.5 x 5.1 cm. Time to start petitioning rich relatives for Christmas.

The Holy Grail of the Unconscious

Previously on { feuilleton }
The art of Julien Champagne, 1877–1932
Digital alchemy
In the Shadow of the Sun by Derek Jarman

Psychedelic Wonderland: the 2010 calendar

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So I had a bright idea at the end of September… Instead of rehashing old work for a CafePress calendar design, I thought I’d try something new. I hadn’t done any artwork for myself all year, everything I’d been working on was a commission of some sort. In addition to that, I’d spent a large portion of the year delving deeper into the psychedelic music of the late Sixties, especially the wealth of obscure British bands to be found on the seemingly endless series of compilations which have trickled out over the past two decades. Everyone is familiar with Jefferson Airplane’s White Rabbit but, as I’ve noted before, themes from, and allusions to, the Alice books run through British psychedelia to an even greater degree. The Beatles put Lewis Carroll in their pantheon of influences on the cover of Sgt. Pepper, and Wonderland’s atmosphere of Victorian surrealism chimed perfectly with a resurgence of interest in Victorian art and design.

So at the end of September, mulling over ideas, I picked up one of my Lewis Carroll volumes and looked at the chapter list: 12 chapters…12 months…I could do a psychedelic Alice in Wonderland! The only drawback was being weighed down by ongoing work which meant that anything I did would have to be created quickly and easily. I reckoned it was manageable if I put a few rules in place first: try and rough out a chapter a day; make copious use of clip art decoration and scanned engravings; keep things bold and florid without worrying too much about fidelity to minor story points. In theory I could do the whole thing in about two weeks if I kept on schedule. As it turns out the whole thing took me three weeks as I got increasingly involved with illustrating the story. You can see the results below and larger copies of the pictures here. Two years ago I was saying I probably wouldn’t ever illustrate Lewis Carroll. That was true at the time since I couldn’t find an approach to the stories that would sustain my interest and (possibly) bring something new to the books. Seeing Alice’s adventures through the psychotropic prism of the late Sixties showed me the way into Wonderland. What’s needed now is to do the same next year for Looking-Glass Land. Watch this space.

Some notes on the pictures follow below.

Update: By popular demand, this calendar is now available again.

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