{"id":15454,"date":"2014-07-26T02:22:47","date_gmt":"2014-07-26T01:22:47","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15454"},"modified":"2014-07-26T02:22:47","modified_gmt":"2014-07-26T01:22:47","slug":"more-songs-for-the-witch-woman","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/07\/26\/more-songs-for-the-witch-woman\/","title":{"rendered":"More Songs for the Witch Woman"},"content":{"rendered":"

\"cameron1.jpg\"<\/a><\/p>\n

This month I’ve been enjoying the latest quality publication from Fulgur, Songs for the Witch Woman<\/em><\/a>, the centrepiece of which is a cover-to-cover reproduction of the book of occult poetry and art created by Jack Parsons and Marjorie Cameron in the early 1950s. It’s been a great pleasure in recent years seeing the welling of interest in Cameron’s work. In 2001 when I was compiling notes for an abandoned study of occult cinema, Cameron as artist, witch or mere human being was a shadowy presence about whom nothing substantial seemed to have been written; her art was impossible to see anywhere, all one had were fleeting references in books, and her appearances in The Inauguration of the Pleasure Dome<\/em> and Curtis Harrington’s Night Tide<\/em>, a pair of films that only exaggerated her mystique. The intervening years have seen a lifting of successive veils so we’re now able to watch Curtis Harrington’s film portrait, The Wormwood Star<\/em><\/a>, and see her work in books and exhibitions like this one<\/a> (also titled Songs for the Witch Woman<\/em>) which will be showing at the Pacific Design Center in Los Angeles from mid-October. As an early precursor to that there’s this feature by Robert Garrova<\/a> at SPRC which includes comments about the exhibition from organisers Scott Hobbs and Yael Lipschutz.<\/p>\n

\"cameron2.jpg\"<\/a><\/p>\n

Pan: art by Cameron, poem by Parsons.<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 Songs for the Witch Woman<\/a>
\n\u2022 More Cameron<\/a>
\n\u2022 Inauguration of the Pleasure Dome: The Eldorado Edition<\/a>
\n\u2022 The Wormwood Star<\/a>
\n\u2022 Street Fair, 1959<\/a>
\n\u2022 House of Harrington<\/a>
\n\u2022 Curtis Harrington, 1926\u20132007<\/a>
\n\u2022 The art of Cameron, 1922\u20131995<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

This month I’ve been enjoying the latest quality publication from Fulgur, Songs for the Witch Woman, the centrepiece of which is a cover-to-cover reproduction of the book of occult poetry and art created by Jack Parsons and Marjorie Cameron in the early 1950s. It’s been a great pleasure in recent years seeing the welling of … Continue reading “More Songs for the Witch Woman”<\/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":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,42,7,16],"tags":[1375,5065,121],"class_list":["post-15454","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-film","category-occult","tag-curtis-harrington","tag-jack-parsons","tag-marjorie-cameron"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-41g","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15454","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=15454"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15454\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}