{"id":26943,"date":"2024-05-11T19:00:35","date_gmt":"2024-05-11T18:00:35","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=26943"},"modified":"2024-05-11T18:46:49","modified_gmt":"2024-05-11T17:46:49","slug":"weekend-links-725","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2024\/05\/11\/weekend-links-725\/","title":{"rendered":"Weekend links 725"},"content":{"rendered":"

<\/a><\/p>\n

Springtime in Paris (1923) by Georg Kretzschmar.<\/em><\/p>\n

\u2022 I’ve been asked to mention that the tribute book put together for Alan Moore’s 70th birthday, Alan Moore: Portraits of an Extraordinary Gentleman<\/em><\/a>, is still available. As before, the book features contributions from many well-known comic artists, a foreword by Iain Sinclair, and this piece of my own<\/a>.<\/p>\n

\u2022 “I never posted any lecture of mine on Tumblr, even though Tumblr would seem to have plenty of elbow-room for hour-long, learned, European public lectures (with many lecture slides).” Utopian Realism<\/a>, a speech by Bruce Sterling.<\/p>\n

\u2022 Reading the Signs: John Kenny in conversation with Mark Valentine<\/a> about Mark\u2019s new collection Lost Estates<\/em><\/a>.<\/p>\n

There remains something suspect about blotter, a stain that is both a blessing and a curse. As the blotter producer Matthew Rick, who started selling sheets as non-dipped \u2018art\u2019 collectables at festivals in 1998, puts it: \u2018[B]lotter is the last underground art form that\u2019s going to stay underground, simply because you\u2019re creating something that looks like and functions like a felony.\u2019 In other words, blotter is ontologically<\/em> illicit; it is, as Rick says, \u2018drug paraphernalia by its very existence\u2019.<\/p>\n

Erik Davis (again) on LSD and the cultural history of the printed blotter<\/em><\/a><\/p><\/blockquote>\n

\u2022 At Colossal: Uncanny phenomena derail domestic bliss in Marisa Adesman<\/a>\u2019s luminous paintings.<\/p>\n

\u2022 Standing stones, urban hellscapes and male nudes: Andrew Pulver on Derek Jarman\u2019s Super-8 films<\/a>.<\/p>\n

\u2022 “ [breaking news] An anomaly on earth has brought the cats to over 150 meters. Please be patient<\/a>.”<\/p>\n

\u2022 At We Are The Mutants: Alien Renaissance: An interview with illustrator Bob Fowke<\/a>.<\/p>\n

\u2022 At Dennis Cooper’s: Spotlight on…Ren\u00e9 Crevel My Body and I<\/em><\/a> (1926).<\/p>\n

\u2022 At Public Domain Review: The Little Journal of Rejects<\/em><\/a> (1896).<\/p>\n

\u2022 Steven Heller\u2019s font of the month is Sandhouse<\/a>.<\/p>\n

\u2022 RIP Steve Albini<\/a>.<\/p>\n

\u2022 Sandoz In The Rain<\/em><\/a> (1970) by Amon D\u00fc\u00fcl II | Bon Voyage Au LSD<\/em><\/a> (2001) by Acid Mothers Temple & The Melting Paraiso U.F.O. | Careful With That Sheet Of Acid, Eugene<\/em><\/a> (2019) by Jenzeits<\/p>\n","protected":false},"excerpt":{"rendered":"

Springtime in Paris (1923) by Georg Kretzschmar. \u2022 I’ve been asked to mention that the tribute book put together for Alan Moore’s 70th birthday, Alan Moore: Portraits of an Extraordinary Gentleman, is still available. As before, the book features contributions from many well-known comic artists, a foreword by Iain Sinclair, and this piece of my … Continue reading “Weekend links 725”<\/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":[2,42,51,851,7,48,3,44,20,18,10],"tags":[8806,103,2169,13459,12390,2503,511,1686,13456,218,9556,13457,124,13458,2903,13460,13461],"class_list":["post-26943","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-cities","category-drugs","category-film","category-illustrators","category-music","category-painting","category-science-fiction","category-surrealism","category-typography","tag-acid-mothers-temple-the-melting-paraiso-u-f-o","tag-alan-moore","tag-amon-duul-ii","tag-andrew-pulver","tag-bob-fowke","tag-bruce-sterling","tag-derek-jarman","tag-erik-davis","tag-georg-kretzschmar","tag-iain-sinclair","tag-jenzeits","tag-john-kenny","tag-lsd","tag-marisa-adesman","tag-mark-valentine","tag-rene-crevel","tag-steve-albini"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-70z","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/26943","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=26943"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/26943\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=26943"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=26943"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=26943"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}