Cthulhu under glass

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Having had two separate visitors to the British Library’s Out of this World exhibition tell me that some of my work was featured there, it’s been a good to finally discover what was on display. Many thanks to John Keogh for notifying me of his exhibition photo set which includes the above shot of the relevant display case. This is an odd collection for what’s been widely advertised as a science fiction event. Pages from my 1988 adaptation of The Call of Cthulhu are in there along with other fantasy and horror titles including Neil Gaiman’s Sandman, Incarnate by Ramsey Campbell, an edition of Fantasy & Science Fiction with Robert Holdstock’s Mythago Wood on the cover, and a Sidney Sime illustration for Lord Dunsany’s Gods of Pergana. Cthulhu originates out of this world, of course, and that phrase is general enough to encompass other genres.

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This page from the climax of Lovecraft’s story was the first drawing I made of the living Cthulhu, all earlier representations following Lovecraft’s scheme of the creature manifesting throughout history in different human artworks and religious icons. Since most of those representations are highly stylised I wanted to make the awful reality seem a lot more visceral and even incoherent, hence the mass of flailing tentacles and ropes of slime. This is also the only full view you receive, everything else is fragmentary and allusive so there’s space for the reader’s imagination. I think the book in the library display is the Lovecraft anthology The Starry Wisdom but The Call of Cthulhu is also present in my Haunter of the Dark collection which includes a couple more portraits of “the green, sticky spawn of the stars”.

Out of this World is a free exhibition which will run to September 25th, 2011.

Elsewhere on { feuilleton }
The Lovecraft archive

Weekend links 63

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Polish poster by Andrzej Bertrandt for Andrei Tarkovsky’s 1972 film of Solaris.

• Stanisław Lem’s Solaris receives its first ever direct English translation by Bill Johnston (only on Audible for the moment), all previous editions having been sourced from a poor French translation. An all-too-common state of affairs for non-English fiction where bad or bowdlerised translations persist for years.

• Now that Minnesota politician Michelle Bachmann is running for US president it’s a good time to examine her views when (theoretically) her actions could one day impact on us all. The Daily Beast gathered together some of her worst pronouncements, including the following about gay people: “It’s a very sad life. It’s part of Satan, I think, to say that this is gay.” Her husband describes his attempts to counsel (ie: cure) gay teenagers with the words “Barbarians need to be educated.” It’s no surprise that both these people find confirmation of their views in the usual narrow interpretation of Christian doctrine. Not all American Christians are this ignorant or offensive, of course. The Heartland Proclamation calls for “an end to all religious and civil discrimination against any person based on sexual orientation and gender identity and expression”.

Journalist Andrew Sullivan in 2003 proposed a label for people like Bachmann: “I have a new term for those on the fringes of the religious right who have used the Gospels to perpetuate their own aspirations for power, control and oppression: Christianists. They are as anathema to true Christians as the Islamists are to true Islam.” It’s a term that ought to have more widespread use.

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Czech poster for Solaris. No designer credited.

• Probing the secrets of psilocybin: “Scientists at the Johns Hopkins University School of Medicine have zeroed in on the dose levels of the ‘sacred mushroom’ chemical capable of yielding positive, life-changing experiences, while minimizing the chance of transient negative reactions in screened volunteers under supportive, carefully monitored conditions.”

• Rick Poynor relates a visit to the Frederic Marès Museum, Barcelona, home to the 50,000 objects Marès collected over his lifetime. Further details of the collection can be found at the museum website.

In her 1969 essay “The Pornographic Imagination,” [Susan] Sontag insisted that Story of O could be correctly defined as “authentic” literature. She compared the ratio of first-rate pornography to trashy books within the genre to “another somewhat shady subgenre with a few first-rate books to its credit, science fiction.” She also maintained that like science fiction, pornography was aimed at “disorientation, at psychic dislocation.”

If so, that aim is far more interesting than what most generic “mainstream” novels set out to do. No one could describe O as predictable or sentimental. Its vision was dark and unrelenting; everything about it was extreme. Sontag also compared sexual obsession (as expressed by Réage) with religious obsession: two sides of the same coin.

Carmela Ciuraru on the story of The Story of O by Pauline Réage.

• “No hay banda! There is no band. It is all an illusion.” David Lynch will be opening a Club Silencio in Paris (Montmartre, of course). Facebook pages here and here.

• Sad to say that Chateau Thombeau is now closed but Thom has begun a more personal journal here.

• Picture galleries of the Vorticists at the Tate here and here. Related: Into the Vortex.

• Illuminated Persian pages from 1604 at BibliOdyssey.

• Tape drawings by Chris Hosmer.

• Miles Davis and co. at the Isle of Wight Festival, 1970: part 1 | part 2 | part 3 | part 4

Sibylle Ruppert revisited

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Empusae Raptus (1977).

Another post about this astonishing artist (I’ll keep talking about her if no one else does…). The pictures here are taken from the catalogue for the 2010 Sibylle Ruppert exhibition at the HR Giger Museum, Gruyères, Switzerland. Leslie Barany was good enough to send me a copy of this, and the pictures are posted courtesy of the museum. To purchase a copy of the catalogue contact marcowitzig@gigerworkcatalog.com

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Le Chant de Maldoror (1978).

Looking over Sibylle Ruppert’s work this week I’ve been pondering why she wasn’t better known. She was working throughout the 1970s and could easily have been swept up in the vogue for fantastic art when it was being popularised by Omni magazine. Giger, Mati Klarwein, Robert Venosa, De Es Schwertberger and others all benefited from Bob Guccione’s publication, and to a lesser degree from appearances in Heavy Metal magazine. Ruppert’s lack of visibility may have been a result of the usual situation whereby women artists were overlooked or marginalised. But I think it’s far more likely that her work was simply too intense and visceral for the newsstands. Giger could get by with paintings like the semi-abstract NY City series which were attached to science fiction stories without causing a stir. It’s difficult to imagine Ruppert’s work gaining such a popular acceptance, especially in the United States where, lest we forget, Giger’s Penis Landscape did cause a stir in 1985. One of the great benefits of the web is the way so much previously buried culture is surfacing and finding new and enthusiastic audiences. Sibylle Ruppert’s greatest audience has yet to find her but they’re surely out there, you can’t keep work of this quality buried forever.

For a few more Ruppert works see that haven of all things grotesque, Monster Brains.

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Le Spectacle de l’Univers (1977).

Continue reading “Sibylle Ruppert revisited”

Weekend links 60

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Jean Genet (1950) by Leonor Fini.

• Bibliothèque Gay looks at a series of erotic engravings made by Leonor Fini for La Galère (1947) by Jean Genet. The author reciprocated with Mademoiselle: A Letter to Leonor Fini. At the hetero end of the erotic spectrum, Tate Liverpool will be showing a series of drawings by René Magritte produced for a proposed edition of Madame Eduarda by Georges Bataille. René Magritte: The Pleasure Principle opens next month.

George Clinton will be appearing with Nona Hendryx at the British Library on 18th June, to talk about “all things galactic”. In addition there’s a screening of John Akomfrah’s The Last Angel of History, a documentary about Afrofuturism and black science fiction. See an introduction to that here. Related: the Smithsonian’s National Museum of African American History and Culture has acquired the Parliament-Funkadelic Mothership for its collection.

• RIP Gil Scott-Heron. “Why does this colossus remain relatively unknown? Is he too political? Too uncompromising? Too angry? Too satirical? Too painful? Too playful? Too alive? Too black? Too human?” Jamie Byng in Gil Scott-Heron: poet, campaigner and America’s rough healer.

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Le Fils du Maçon (1950) by Leonor Fini.

China Miéville examines alternative histories in Brian Aldiss’s The Malacia Tapestry, David Britton’s Lord Horror and Richard Curtis’s chilling dystopia, Notting Hill.

• What happened to Rolf-Ulrich Kaiser and Gille Lettmann when the Kosmische Musik dream collapsed? Find out here.

• Mlle Ghoul interviews Will Errickson of Too Much Horror Fiction about horror paperbacks, good and bad.

• Another Surrealist woman: Claude Cahun at Strange Flowers.

The Key of Hell: an eighteenth-century sorcery manual.

Partitura 001: realtime sound visualisation.

Scientific Illustration: a Tumblr.

Cosmic Slop (1973) by Funkadelic | Cosmic Slop (1991) by Material.

Lovecraft’s favourite artists revisited

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HP Lovecraft (1937) by Virgil Finlay.

I was asked recently to join the bloggers at Tor.com writing about art as it relates to fantasy and science fiction, so for today’s post your attention is directed to this piece, an expanded version of a rather half-hearted list I put together a few years back concerning HP Lovecraft’s favourite artists. Half-hearted or not, people kept linking to that list so it seemed a good idea to make more of it. I’ll be writing these posts a couple of times a month, provided I have the time to do something worthwhile. Watch this space.

Previously on { feuilleton }
The monstrous tome