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Voo-doo: Hoochie Coochie and the Creative Spirit

Better late than never mentioning this exhibition which has been running at Riflemaker, 79 Beak Street, London, since mid-January.

The exhibition features those artists, writers and musicians who acknowledge the need to reach a heightened or ‘altered state’ in order to create their work. We look at the mystery of the creative act; not the inexplicable ‘spark’, aka inspiration, but the fire; the non-doing before the doing, the summoning up of elemental spirits from within, or without, during the preparation of some visual or musical work, some theory or idea. This welling-up or ‘possession’, this ‘fever in the heart of man’, this spirit, this spell, might sometimes be referred to as Voodoo.

Among the very varied selection of work the chief attraction for me would be the rare opportunity to see one of Mati Klarwein‘s major paintings, Crucifixion. I referred to this large and detailed picture last year as I was fortunate to be able to use it for the packaging of Jon Hassell’s Maarifa Street CD. And while we’re on the subject of Mr Hassell (who had a track entitled Voodoo Wind on his second album) he has a new CD out on ECM, Last Night the Moon Came Dropping Its Clothes in the Street.

Voo-doo runs until April 4, 2009.

Elsewhere on { feuilleton }
• The fantastic art archive

Previously on { feuilleton }
• The art of Mati Klarwein, 1932–2002
• Exuma: Obeah men and the voodoo groove
• Voodoo Macbeth

Le Sacre du Printemps

Backdrop for the League of Composers’ production, Philadelphia, 1930.

Something for the vernal equinox. The painting is a stage design by artist, writer and theatre designer Nicholas Roerich (1874–1947) for an American production of Stravinsky’s Rite of Spring. Roerich designed the costumes and decor for the riotous Paris performance of 1913 and the Roerich Museum has a selection of designs for this and subsequent performances. Stravinsky’s fiercely primitive ballet has long been a favourite musical work of mine so it’s especially satisfying when one enthusiasm bleeds into another. I’ve noted before HP Lovecraft’s praise for Roerich’s paintings of whom he wrote in 1937:

There is something in his handling of perspective and atmosphere which to me suggests other dimensions and alien orders of being—or at least, the gateways leading to such. Those fantastic carven stones in lonely upland deserts—those ominous, almost sentient, lines of jagged pinnacles—and above all, those curious cubical edifices clinging to precipitous slopes and edging upward to forbidden needle-like peaks!

Roerich is also mentioned in At the Mountains of Madness and some of his designs for the Rite—which are, after all, backdrops for a ritual sacrifice—might easily serve as a scene of Cthulhoid invocation. Writer Mike Jay has a fascinating piece about the artist which proposes that he should perhaps be given more credit for the origin of the Rite of Spring. He’s not the first to note that it was the stage designer who nurtured a lifelong passion for mysticism and esoteric ritual, not the composer.

Finally, some slightly more contemporary music: Can performing Vernal Equinox for the BBC in 1975.

Previously on { feuilleton }
• HP Lovecraft’s favourite artists

Ban them! How Pete and Dud fell foul of the law yet still escaped prosecution

Infinite reflections

Fireflies on the Water by Yayoi Kusama (2002).

One of my favourite contemporary artworks, Fireflies on the Water by Yayoi Kusama, receives a new showing at Sydney’s Museum of Contemporary Art. Her mirrored room features 150 lights and a pool of water and while most photos show an impressive work, none of them can match this fantastic 360º panorama by Australian photographer Peter Murphy. Kusama isn’t the only artist to use mirrors this way but mirror rooms and reflective surfaces have become as much a recurrent feature of her work as her trademark spots.

Fireflies on the Water is being shown as part of the Yayoi Kusama: Mirrored Years exhibition and can be seen until June 8th, 2009. (Via Nevertheless.)

Mirrored Room by Lucas Samaras (1966).

I’ve often wondered how far back the invention of the fully-mirrored room can be traced. Halls of mirrors are historically common but the mirrors tend to be on the walls only. American artist Lucas Samaras produced his Mirrored Room (with mirrored chair and table) in 1966, something which fascinated me when I first encountered it in art books.

It evidently fascinated ex-art student Brian Eno who I’m sure must have borrowed the idea for the cover of his collaboration with Robert Fripp, (No Pussyfooting), in 1973. I’ve always assumed this was a room in Eno’s home at the time but never seen that confirmed. Anyone know whether this is the case?

Elsewhere on { feuilleton }
• The panoramas archive

Previously on { feuilleton }
• The art of Josiah McElheny
• Yayoi Kusama
• The art of Yayoi Kusama
• Exposure by Robert Fripp

Sleeve craft

Another authorless design: Vertigo #6360 616 (1973).

Things we did (or didn’t) learn about album cover design this week.

• The jury is still out as to whether Barney Bubbles designed the covers for the UK releases of Kraftwerk’s third and fourth albums, Ralf and Florian and Autobahn. BB experts Rebecca & Mike did clarify a few points with Kraftwerk designer and collaborator Emil Schult, however. This matter requires further research if only to satisfy my own curiosity.

• The Guardian finally caught up with the CD Cover Meme which was discussed here last year. “Labels spend fortunes on what you lot have managed in minutes” says the paper. By the same rationale anyone who keeps a blog is, de facto, a journalist because all that either involve is writing down a few words. Clever.

• Taking the DIY theme one stage further, Figment is a site where you can invent your own band and promote them via imaginary album sales on the site. You can also create your own cover art, of course, and Figment have asked me to judge an album cover contest with the very real and worthwhile first prize of the latest edition of Photoshop and a copy of Paul Gorman’s excellent Barney Bubbles monograph, Reasons To Be Cheerful. The contest is running now until April 3rd, 2009, if you’re interested.

Update: Cover versions: How Hipgnosis created some of the most memorable images of the Seventies. The Independent on the new Hipgnosis book.

Elsewhere on { feuilleton }
• The album covers archive