{ feuilleton }

Susan Kare

A post for Ada Lovelace Day, “an international day of blogging to draw attention to women excelling in technology.”

Susan Kare was, and still is, a graphic designer specialising in user interface graphics. Facebook users may recognise her gift icons but her earlier work is even more familiar to Macintosh users since it was her job at Apple in 1983 to design the icons for the first Macintosh interface. Many of the original black & white images have been phased out or replaced by higher-resolution equivalents but some still remain, in particular the pointing hand, the stopwatch (which became an hourglass in Windows) and the Command symbol which was based on a map icon for Swedish camping grounds. She also designed some of the fonts used by the first Mac OS including Geneva—still a web standard—and Chicago which was the primary Mac font for many years. In a field overly-dominated by men, her work lies at the heart of technology we’re using today, right down to the Mac keyboard on which I type these words.

Previously on { feuilleton }
• Folder icons

Vintage movie posters

An example from this Flickr set.

Hell is a City is a Hammer melodrama from 1960 directed by Val Guest, mentioned here recently for his earlier The Day the Earth Caught Fire. This one doesn’t succeed quite as well, being a misguided attempt to do a film noir in Manchester. The poster tries to disguise the mundane reality by showing a city which looks more like New York than our small northern metropolis. But it’s worth watching for the great Stanley Baker and, like A Taste of Honey and other films with Manchester settings, you can have fun spotting familiar places in the background. If it’s Brit film noir you want, there’s only one place to go: Jules Dassin’s marvellous Night and the City.

Previously on { feuilleton }
• Edward Judd, 1932–2009
• Franciszek Starowieyski, 1930–2009
• Czech film posters
• The poster art of Richard Amsel
• Bollywood posters
• Lussuria, Invidia, Superbia
• The poster art of Bob Peak
• A premonition of Premonition
• Perfume: the art of scent
• Metropolis posters
• Film noir posters

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

Didio

A stunning photo set of model Luciano Gossmann by Brazilian photographer Didio.

Via VGL.

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