{"id":10041,"date":"2011-09-25T01:58:32","date_gmt":"2011-09-25T00:58:32","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=10041"},"modified":"2025-09-20T19:30:47","modified_gmt":"2025-09-20T18:30:47","slug":"weekend-links-77","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/09\/25\/weekend-links-77\/","title":{"rendered":"Weekend links 77"},"content":{"rendered":"

\"farmer.jpg\"<\/a><\/p>\n

Art by Tessa Farmer<\/a>.<\/em><\/p>\n

\u2022 An exhibition of Tessa Farmer’s art is running at Viktor Wynd Fine Art<\/a>, London, until October 30th. On Saturday, October 1st, Strange Attractor hosts Good Neighbours: Faeries, Folklore and the Art of Tessa Farmer<\/em><\/a> also at Viktor Wynd.<\/p>\n

\u2022 Unearthing The Psychedelic Harp<\/a>: “David Moats talks to harpist and songwriter Serafina Steer about her work with John Foxx and Patrick Wolf, being classically trained, the difficulties of doing live soundtracks and psychedelia.”<\/p>\n

\u2022 And speaking of psychedelia, Arkhonia is still blogging up a storm here<\/a>, here<\/a> and here<\/a> about the lost Beach Boys album, Smile<\/em><\/a>, the farthest Brian and co. ventured into the tripped-out weirdness of 1967. The complete original recordings will finally be released in November.<\/p>\n

\u2022 “‘We’ve arrived at a level of commodification that may have negated the concept of counterculture,’ Gibson says in the Paris Review<\/em>.” William Gibson<\/a> profiled by Thomas Jones.<\/p>\n

One of the qualities I always stress when talking about this design work influenced by Surrealism is its enormous boldness and creative freedom, which is something of a paradox in many cases, since the Czech and Polish designs were created under communist regimes. So, while Uncanny<\/em> documents a significant current in the history of 20th-century visual culture, the show also has a polemical intention aimed, quite deliberately, at our circumstances now. Students who encounter these images in lectures sometimes feel constrained by their conception of what they \u2014 or their teachers \u2014 regard as acceptable in today\u2019s marketplace. At times, this has struck me as being a form of insidious self-censorship. (more<\/a>)<\/p>\n

Rick Poynor: Jan \u0160vankmajer and the Graphic Uncanny.<\/em><\/p><\/blockquote>\n

\u2022 The exhibition curated by Mr Poynor last year, Uncanny: Surrealism and Graphic Design<\/em><\/a>, is now showing at the Kunsthal in Rotterdam until early December. Related: MizEnScen\u2019s somber, surrealist collages<\/a>.<\/p>\n

\u2022 Howard Pyle’s Book of Pirates<\/em><\/a> (1921) at Golden Age Comic Book Stories, the Urtext of buccaneer imagery.<\/p>\n

\"bonnat.jpg\"<\/p>\n

Another<\/em> of those homoerotic religious pictures: Jacob Wrestling with the Angel (1876) by L\u00e9on Bonnat. Via Babylon Baroque<\/a>.<\/em><\/p>\n

\u2022 Celebrating the 250th anniversary of Laurence Sterne’s marbled page: Emblem of My Work<\/a>.<\/p>\n

\u2022 John Martin’s Pompeii painting<\/a> finally restored after 1928 Tate flood damage.<\/p>\n

\u2022 The Spectral Dimension<\/a>: “where the paranormal and popular culture collide”.<\/p>\n

\u2022 The Writing of Stones<\/a><\/em> (1970) by Roger Caillois at 50 Watts.<\/p>\n

\u2022 Mercury Arc Rectifiers<\/a>.<\/p>\n

\u2022 When silliness was an avant garde strategy: video from 1974 of Brian Eno performing China My China<\/em><\/a> and (in better quality) The Seven Deadly Finns<\/em><\/a>. (Go here<\/a> for lyrics of the latter.)<\/p>\n","protected":false},"excerpt":{"rendered":"

Art by Tessa Farmer. \u2022 An exhibition of Tessa Farmer’s art is running at Viktor Wynd Fine Art, London, until October 30th. On Saturday, October 1st, Strange Attractor hosts Good Neighbours: Faeries, Folklore and the Art of Tessa Farmer also at Viktor Wynd. \u2022 Unearthing The Psychedelic Harp: “David Moats talks to harpist and songwriter … Continue reading “Weekend links 77”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,5,48,3,16,44,17,41,18,15],"tags":[2329,2405,2914,145,2606,1213,1282,375,1295,2342,2917,2913,2916,1396,2911,76,1463,2915,2910,98,2909,1155,2912,3033,1757],"class_list":["post-10041","post","type-post","status-publish","format-standard","hentry","category-art","category-gay","category-illustrators","category-music","category-occult","category-painting","category-psychedelia","category-sculpture","category-surrealism","category-technology","tag-50-watts","tag-arkhonia","tag-babylon-baroque","tag-brian-eno","tag-david-moats","tag-golden-age-comic-book-stories","tag-howard-pyle","tag-jan-svankmajer","tag-john-foxx","tag-john-martin","tag-laurence-sterne","tag-leon-bonnat","tag-mizenscen","tag-paris-review","tag-patrick-wolf","tag-pirates","tag-rick-poynor","tag-roger-caillois","tag-serafina-steer","tag-strange-attractor","tag-tessa-farmer","tag-the-beach-boys","tag-thomas-jones","tag-viktor-wynd","tag-william-gibson"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2BX","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10041","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=10041"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10041\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=10041"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=10041"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=10041"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}