Weekend links 23

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“The Go-Go wonder of Paris — That’s space girl. Transistors never wear down, they just go on and on — Even her heart is made of vinyl — It’s a marvy life — With nothing else to do but dance — Why not? – Love? — Forget it, baby — Not for her —” From Mod Love (1967) by Michael Lutin and Michel Quarez.

• “Gay people are not advancing themselves in the (publishing) industry, they’re just regurgitating familiar territory. Of course, artists are always ahead of gatekeepers. That’s the way it works—artists innovate. But in order to fulfill your promise as an editor, agent, publisher or reviewer, you have to be a person who’s embracing the new and looking to elevate what is not yet known. And unfortunately, there’s not a discussion among publishing professionals about enhancing this aspect of people’s responsibilities. In fact, it goes the other way. So there needs to be a psychological revolution on behalf of the people who are controlling what information is allowed to be seen.” From an interview with Sarah Schulman at Lambda Literary.

Jonathan Ross meets Jim Steranko. Also at the Guardian: Unearthing the truth about Alan Moore.

• Photographing an abandoned Art Deco skyscraper. From the people who photographed Neverland at night.

Powers: “aural sculptures” by Andy Partridge inspired by the strange science fiction art of Richard M Powers.

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La Paresse (Laziness) (1924) by George Barbier.

Lautréamont’s poison-drenched pages. Roger Cardinal reviews a new edition of Les Chants de Maldoror and Poésies.

The Wire‘s Top 50 Rhythms of All Time, a list from 1992. Some great recommendations but it’s impossible to imagine that being written now without a mention of Klaus Dinger. And where’s Fela Kuti?

• The Wire Salon at Cafe Oto, London, on August 5th presents Rob Young discussing his forthcoming book, Electric Eden: Unearthing Britain’s Visionary Music.

American Pictorial Photography, 1912–1955. Another astonishing picture set at Golden Age Comic Book Stories.

The Beats: Pictures of a Legend. Edmund White on a new exhibition of Allen Ginsberg’s photographs. Related: the trailer for Howl.

The Dream Machine is a point-and-click adventure game made using hand-crafted animation.

Fuck yeah Francisco Lachowski: Brazilian model cutie has many Tumblr fans.

Polly Morgan’s wings of desire. The taxidermy artist interviewed.

Thomas Dolby’s solar-powered boat studio.

Rückstoss Gondoliere (1971) by Kraftwerk: pt. 1 | pt. 2

Mystery clocks

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Yesterday’s post concerned skeleton clocks so I have to follow up with something about mystery clocks, those fascinating devices whose hands move without any apparent attachment to gears or clockwork. It’s the glass that moves, of course, and the trick is easily puzzled out in many of the pieces with circular faces. Rather more ingenious are square clocks like the simple and elegant Smiths Electric Mystery Clock from 1934 which used a central pane of glass moving from side to side to operate the hands. Especially impressive is this one-off piece which is entirely clear and seems to have no moving parts at all.

The clocks shown here are among the more lavish examples. The piece above is an early model from circa 1837 credited to Jean Eugène Robert-Houdin, the renowned stage magician who was also a notable inventor, clockmaker and scientist. Below is one of a series of Art Deco-styled clocks made by Cartier during the 1920s. Having the clock suspended rather than supported is an unusual touch which adds just that bit more mystery.

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Previously on { feuilleton }
Skeleton clocks
The Midsummer Chronophage
The Corpus Clock

John Vassos’s Salomé

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Yet another Salomé, this 1927 edition being a beautifully stylised Art Deco version by John Vassos (1898–1985), a Greek artist who moved to America in the 1920s. There aren’t many examples of these drawings online, unfortunately, I love to see a complete set of the illustrations. Salomé’s underarm hair is a detail one can’t imagine seeing in many renderings before or after this. Vassos followed Salomé with two more Wilde editions, The Ballad of Reading Gaol (1928) and The Harlot’s House and Other Poems (1929). Bud Plant’s page has more about the artist’s life and work and further examples of his monochrome art.

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Elsewhere on { feuilleton }
The illustrators archive
The Salomé archive

More decorated books from the Netherlands

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left: Jan Toorop (1898); right: no designer credited (1904).

A search this week for work by Dutch designer Chris Lebeau (1878–1945) turned up another collection of fantastic decorated covers and prints from the Netherlands, running from the Art Nouveau period through Art Deco up to the 1940s. I found some Lebeau pieces but the big surprise was also discovering a number of cover designs by the Symbolist artist Jan Toorop (1858–1928). Toorop’s highly-stylised draughtsmanship easily lends itself to graphic design but I’ve never seen cover illustration mentioned in any discussion of his work. The site doesn’t have any text in English but the pictures are well worth a browse.

Update: Well…the pictures were worth a browse but the site is currently offline, all the links now go to a domain holding-page.

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left: Albert Angus Turbayne (1913); right: CA Vlaanderen (1919).

The peacock cover is a variation on an earlier design by Albert Angus Turbayne.

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left: Chris Lebeau (1924); right: AP Hahn Jr. (1931).

Elsewhere on { feuilleton }
The book covers archive

Previously on { feuilleton }
Netherlands decorated books