{surrealism} – Page 31 – { feuilleton }

Weekend links 517

Edward James by René Magritte; La Reproduction Interdite (1937).

• “James was filmed in the late 1970s, striding round Las Pozas in a sweater and a tattered dressing-gown, surmounted by parrots (The Secret Life of Edward James can be seen on YouTube). When asked what motivated him, he replied: ‘Pure megalomania!’ He was having his second childhood, he said, though he wasn’t sure the first had ever ended.” Mike Jay on lifelong Surrealist, Edward James (1907–1984), and the concrete fantasia he built in the Mexican jungle.

• “I found the roots of electronic music in a cupboard!” Musician Paul Purgas (one half of Emptyset) on the discovery of early electronic music from India’s National Institute Of Design. Related: Purgas talks about his discovery with Patrick Clarke.

• RIP Phil May. Here’s The Pretty Things in their guise as psych band “Electric Banana” for an appearance in What’s Good for the Goose (1969). A decent moment in an otherwise terrible film.

• Music is a memory machine: David Toop explores how the transmission of music between disparate cultures can be a tool against populism and prejudice.

• Kraftwerk’s remarkable journey, and where it took us: Bob Boilen and Geeta Dayal discuss the tanzmusik of Düsseldorf.

• At Dangerous Minds: Acid Drag & Sexual Anarchy: Fifty years ago The Cockettes turned drag upside down.

• Hua Hsu on the secret lives of fungi: “They shape the world—and offer lessons for how to live in it”.

• The great writer who never wrote: Emma Garman on the flamboyant Stephen Tennant.

• Cult 1998 PlayStation game LSD: Dream Emulator is finally playable in English.

• Jim Jupp of Ghost Box records talks about the Intermission compilation album.

• Jonathan Moodie on psychoactive cinema and sacred animation.

• Alex Barrett on where to begin with Akira Kurosawa.

• At Dennis Cooper’s: Skeletons.

• Skeleton Makes Good (1982) by Captain Beefheart & The Magic Band | Red Skeletons (1996) by Coil | Kids Will Be Skeletons (2003) by Mogwai

Weekend links 515

A pair of Huysmans covers from 1978 designed by Gérard Deshayes.

• Friends of the great composer/musician Jon Hassell set up a GoFundMe account a few days ago to help raise money for Jon’s medical costs. It’s always dispiriting having to link to these fund-generators when they shouldn’t be required at all but until America sorts out its health situation this is how things are. For those who’d prefer to help Jon by buying his music, there’s a Bandcamp page with a handful of releases, and more available at Bleep, the online distributor of Warp Records who helped produce his last release, Listening To Pictures (Pentimento Volume One). Related: Words With The Shaman: Jon Hassell interviewed by Chris May.

• Every time I think I must have heard all the best of the early Kraftwerk concerts another one turns up. This new posting at YouTube is taken from a recent file upload at the concert-swapping site Dimedozen, and is believed to be a radio recording of the group playing in Vancouver, Canada, in 1975. It’s very good quality (some slight bleed from other stations) and features excellent versions of their concert repertoire at that time. The version of Autobahn is especially good.

• in 2009 Dana Mattocks built a machine he called Steampunk Frankenstein, a construction which was attended by a frame containing my first piece of steampunk art. Dana’s latest creation is TILT, the Robot with Rocket Jet-Pack.

• RIP Tony Allen, the drummer about whom Fela Kuti said “without Tony Allen, there would be no Afrobeat”. Allen was interviewed by John Doran in 2012. Related: Tony Allen: the Afrobeat pioneer’s 10 finest recordings.

• “Robert Fripp’s ‘Music for Quiet Moments’ series. We will be releasing an ambient instrumental soundscape online every week for 50 weeks. Something to nourish us, and help us through these Uncertain Times.”

• How to avoid Amazon: the definitive guide to online shopping – without the retail titan; Hilary Osborne & Poppy Noor have some suggestions. I favour eBay for many of my purchases, large or small.

• Adam Scovell on A Cinematic Lockdown: Confinement in the films of Alfred Hitchcock.

• Liberty Realm, a book of art by Cathy Ward, is coming soon from Strange Attractor.

• One Great Reader: Luc Sante talks to Wes del Val about his favourite books.

• Oscar Wilde and the mystery of the scarab ring by Eleanor Fitzsimons.

• Unica Zürn at Musée D’art Et D’histoire De L’hôpital Sainte-Anne.

• Mix of the week: Secret Thirteen Mix 302 by Avizohar.

• Another concert: Tuxedomoon live in Rome in 1988.

• Rarefilmm | The Cave of Forgotten Films.

• At Dennis Cooper’s: Ghosts.

• Ghost Song (1978) by Jim Morrison & The Doors | Ghost Song (2000) by Air | Ghost Song (2005) by Patrick Wolf

Cornell’s Constellations

Untitled (Die Sternen-Welt), c.1950.

Among my current reading is Utopia Parkway (1997), Deborah Solomon’s biography of American artist Joseph Cornell (1903–1972). The book is very good for the factual data but I’ve been less enamoured by Solomon’s attempts to dredge biographical significance from Cornell’s hermetic and allusive work, or by her dismissive comments about other artists. Her account is most valuable when showing the evolution of Cornell’s art, the way he developed his often erratic and hesitant working methods. Most of Cornell’s works that I’ve seen in the past have been solitary examples, usually in books about Surrealism, so I wasn’t aware that so many of his celebrated and influential box assemblages were produced as themed series: Aviaries, Dovecotes, Hotels, and so on.

Planet Set, Tête Etoilée, Giuditta Pasta (dédicace), 1950.

Astronomy was a Cornell passion which also provided the subject for another themed series, Observatories, a collection of boxes begun later in his career for which star maps and heavenly bodies were the dominant concern. By the 1950s his creations were much more refined than some of his earlier constructions, although the box contents include many familiar Cornell ingredients: antique maps and diagrams, glassware, spherical objects, etc. The examples here are a small selection of those to be found scattered around various websites. Another consequence of reading Solomon’s book is realising that I could do with a companion volume filled with Cornell’s artwork. There doesn’t seem to be a decent monograph as yet; if anyone has any suggestions (preferably with colour plates) then please leave a comment.

Sun Box (1950). [Not a constellation, obviously, but from the same astronomical series.]

Untitled (Celestial Navigation), 1956–58.

Celestial Navigation (c.1958).

Untitled (Canis Major Constellation), c.1960.

Custodian—M.M. (1962).

Previously on { feuilleton }
• Joseph Cornell: Worlds in a Box
• Joseph Cornell, 1967
• Rose Hobart by Joseph Cornell
• View: The Modern Magazine

Weekend links 509

The Art of the Occult: A Visual Sourcebook for the Modern Mystic by S. Elizabeth. The book will be published in September by White Lion Publishing, and includes some work of mine.

• “The structure of the film as a memory palace consists of scenes intercutting different movies, depicting similar situations lived by the same actors in similar locations and, yes, similar sexual positions building over the course of its run-time.” Memory Palace: on Ask Any Buddy and the Golden Age of Gay Porn. Caden Mark Gardner writes on a kaleidoscopic, experimental archive piece of gay pornography. • Related: Paul P., the artist making dreamy paintings from vintage gay erotica.

• At Dennis Cooper’s: Spotlight on…Terry Southern The Magic Christian (1959), and Bill Hsu presents…High Anxiety: tense, dark films from 2010-2019 (for fans of Robert Aickman and Brian Evenson).

• Green (1986) by Hiroshi Yoshimura, a welcome reissue of an album of minimal electronica. More green: The Green Fog by Guy Maddin has been on Vimeo for a while.

• Mixes of the week: Time is on our hands by Beautify Junkyards, and Textural Hominini Cognition by The Ephemeral Man.

• How John Waters and Mink Stole made Pink Flamingos, and Mink Stole on the inside story of John Waters’ greatest films.

• Viktor Wynd: “I was offered a mummified arm—but I didn’t have €2,000 on me”.

• At Dangerous Minds: the solitary Surrealism of Gertrude Abercrombie.

• Cats and Domino

• Webcam in Italia

• The Green Chinese Table (1988) by Seigen Ono | Green Water (1996) by Coil | Green Evil (1997) by Paul Schütze

The poster art of Josef Vyleťal

The Hero is Afraid (1965).

Film posters by Czech artist Josef Vyleťal (1940-1989) have appeared here in the past, but after watching Juraj Herz’s gloomily Gothic Beauty and the Beast (1978) at the weekend—a film for which Vyleťal not only created a poster but also provided the title sequence and paintings seen within the film—I thought the artist deserved a post of his own.

Josef Vyleťal was a prolific poster artist and designer—the Terry Posters website states that he created 115 designs for the cinema—who also worked as a book illustrator. Between commercial assignments he produced paintings in a macabre Surrealist style that filtered into his commercial work, the Herz titles included. The absence of barriers between private obsessions and commercial imperatives is what makes the film posters created by Czech and Polish artists so attractive, as well as so surprising to Anglophone viewers. There’s no sense of these works being produced by committee, of a gaggle of marketing executives fretting over details behind the scenes. Some of Vyleťal’s interpretations are so extreme and uncompromising by Hollywood standards it’s impossible to imagine even an adventurous chain like Alamo Drafthouse commissioning them, never mind a risk-averse studio. One of the designs I singled out for an earlier post is an ideal example, a poster for Alfred Hitchcock’s The Birds which dispenses with any visual reference to the film in favour of a liberal borrowing of the bird-headed figures from Max Ernst’s The Robing of the Bride. It’s a commonplace when discussing the films of Jan Švankmajer to situate the director in the history of Czech Surrealism which remained a clandestine movement during the Communist years. But Vyleťal’s paintings demonstrate a confidence that the average Czech filmgoer could accept Surrealist imagery when being tempted by the latest fare from Hollywood.

The Naked Eye (1966).

Given my own tastes for Surrealist imagery many of the examples shown here tend in this direction. Vyleťal was a versatile artist who utilised a number of different styles, including collage and a bold graphic style of black shapes on coloured backgrounds. In addition to borrowing from Ernst he also borrowed (or swiped) figures from Aubrey Beardsley on at least two occasions (see below). Most of the examples here are collages augmented by or combined with paint, collage being a quicker solution when faced with deadlines. Terry Posters has many more examples.

The Black Tulip (1967).

The Heart is a Lonely Hunter (1968).

The Trygon Factor (1968).

Continue reading “The poster art of Josef Vyleťal”