David Bowie – Page 11 – { feuilleton }

Victor Vasarely album covers

Terretektorh / Nomos Gamma (no date; late 60s) by Iannis Xenakis.

Xenakis and Victor Vasarely are paired again on this album cover from the late 1960s. Given how often record companies have used abstract artwork on the sleeves of classical recordings, especially those by 20th-century composers, you’d expect there to be more examples. There may well be but Discogs (always the easiest place to search) only turns up the following examples.

Chamber Concerto For 11 Instruments / Symphonic Variations (no date) by
Neils Viggo Bentzon / The Royal Danish Orchestra conducted by Jerzy Semkow.

Kontakte For Electronic Sounds, Piano And Percussion / Refrain For Three Instrumentalists (1968) by Aloys Kontarsky, Christoph Caskel, Karlheinz Stockhausen.

David Bowie (1969) by David Bowie.

I confess that until I began searching for Vasarely covers I hadn’t known that this was an early example. That’s partly down to David Bowie’s second album (the first in his official canon) having been reissued for years in a different cover with Bowie’s face filling the sleeve. The album reissues in 1999 restored the original design, one of the artist’s Folklore Planetaire series. The credit is to “Vaserelli”.

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The weekend artists, 2013

“Chloromgonfus detectis, a dragonfly that can detect volatile pollutants.” A speculative insect by artist Vincent Fournier.

The annual review of artists/designers/photographers featured in the weekend posts should have run at the end of December but MR James got in the way. Big thanks, and happy new year to Form is Void and Beautiful Century for pointing the way to many of these people.

Two cover designs from Eliash Strongowski’s 30 Days—30 Covers project.

Pink Boy by Melinda Gebbie.

Seam Stress (1987) by Laurie Lipton. The Drawings of Laurie Lipton is out now from Last Gasp.

The Baron in the Trees (2011), a book-cut sculpture by Su Blackwell.

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Weekend links 180

One of Jonathan Andrew‘s photos of coastal bunkers and concrete defences from the Second World War. In 2006 JG Ballard looked at the way these structures embody the functional nature of Modernist architecture.

• “Utamaro, whose prints of famous courtesans were regarded as the very models of sober beauty by 19th-century Western collectors, in fact produced more Shunga books and albums than non-erotic works.” Adrian Hamilton on the Shunga: Sex and Pleasure in Japanese Art exhibition.

• “…in Samoa, as in many traditional cultures around the world, androphilic males occupy a special transgendered category.” Alice Dreger on gay male couples and evolution.

• Robert Fuest’s film of Michael Moorcock’s first Jerry Cornelius novel, The Final Programme (1973), is out on (Region 2) DVD this month.

Masked by reticence and cloaked in tweeds, [Herbert] Read was the unexpectedly ardent and frighteningly prolific champion of nearly everything that was radical in the first half of the twentieth century: Imagism, Surrealism, abstraction, the Bauhaus, Marxism, anarchism, Freud and Jung, progressive education, Gandhian nonviolent resistance. Though now somewhat dimly remembered, he was, for decades, the Victoria Station of the arts, England’s primary explainer of the modern.

Eliot Weinberger introduces Herbert Read’s strange fantasy novel, The Green Child (1935).

• KW Jeter’s steampunk novel Fiendish Schemes is published (with my cover art) by Tor on the 15th. There’s an extract here.

• Mix of the week: An early Halloween mix (and interview) from Joseph Stannard of The Outer Church.

• At Dangerous Minds: Codex Seraphinianus: A New Edition of the Strangest Book in the World.

• A trailer for the forthcoming Blu-ray release of Murnau’s Nosferatu: A Symphony of Horror.

• Kenneth Halliwell: lover, killer… artist? Philip Hoare on the collages of Joe Orton’s partner.

• Clive Hicks-Jenkins looks back at Cocteau’s La Belle et la Bête here, here and here.

• Anastasia Ivanova‘s photo portraits of lesbian couples in Russia.

• Christopher Fox on electronic music’s sound of futures past.

• At Strange Flowers: Melchior Lechter’s book designs.

• Vaughan Oliver‘s favourite 4AD album covers.

• Swinging Sixties Japanese film posters.

• John Foxx’s favourite albums

• Beauty And The Beast (1977) by David Bowie | Slow Motion (1978) by Ultravox | I Am The Green Child (2000) by Coil

Kirlian photography

quarter3 (2006) by nebamix.

Thinking recently about the resurgence of interest in the various forms of parapsychological and occult phenomena that were so popular in the 1970s, I’m surprised not to see more mention of Kirlian photography, or the capturing of high-voltage coronal discharges on photographic plates. In the 70s the idea was that Kirlian photographs depicted auric fields, and the phenonemon was widespread enough for a while enough to attract the attention of (among others) David Bowie. From a purely aesthetic point of view I’ve always enjoyed the appearance of these photographs. Flickr has a Kirlian photography pool with a variety of examples (fewer than I’d hope) while there are more to be seen at the Full Spectrum site where they specialise in high-quality Kirlian images. While browsing the pictures you could maybe listen to Kirlian Photograph by Cabaret Voltaire, a track from their still strange and unsettling debut album, Mix-Up, itself a product of the 1970s.

A negative discharge (1896).

Previously on { feuilleton }
• Thought-Forms and Auras

Weekend links 158

Pan II (2012) by Fredrik Söderberg.

• “Aubade was a surprise success, selling some 5000 copies and going into a second printing and an edition published in America. Martin was immediately a minor celebrity, being interviewed for articles that couldn’t mention what his book was actually about.” Rediscovering the works of Kenneth Martin.

• “I can’t stand covers which imitate other covers, or which slavishly look like whatever their designated genre is supposed to look like.” Ace cover designer Peter Mendelsund is interviewed.

• At The Outer Church Isablood & Henry of Occult Hand are interviewed about their mixtape.

I’d decided to pay my respects in an unorthodox way, by time-travelling into the period of Thatcher’s pomp, when she occulted the light, alchemised the bad will of the populace and did her best to choke the living daylights out of the awkward, sprawling, socially coddled essence of metropolitan London. Hers was a tyranny of the suburbs operating from a position of privilege at the centre: she might have invested in a Dulwich retirement property, but she couldn’t sleep in it.

Iain Sinclair visits Tilbury on the day of the Thatcher funeral. Related: Iain Sinclair and Jonathan Meades in Conversation, Oxford Brookes University, March 2013.

• Ormond Gigli’s best photograph: women in the windows in Manhattan. See it full size here.

• Balzac and sex: How the French novelist used masturbation to fuel his writing process.

• At Dangerous Minds: Kenneth Williams and John Lahr discuss Joe Orton in 1978.

• Yet more Bowie: Sukhdev Sandhu reviews Ziggyology by Simon Goddard.

• The Spectacular, Wild World of Tenjo Sajiki and its Posters.

• In 1967 Susan Sontag made lists of her likes and dislikes.

• Stephen Sparks on fin de siècle author Marcel Schwob.

• Day Jobs of the Poets by Grant Snider.

• James Turrell’s Ganzfeld Experiment.

• The Pan Piper (1960) by Miles Davis & Gil Evans | Panorphelia (1974) by Edgar Froese | Pandora (1984) by Cocteau Twins