{"id":9027,"date":"2011-03-13T02:13:22","date_gmt":"2011-03-13T02:13:22","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=9027"},"modified":"2013-02-03T04:02:35","modified_gmt":"2013-02-03T04:02:35","slug":"weekend-links-50","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/03\/13\/weekend-links-50\/","title":{"rendered":"Weekend links 50"},"content":{"rendered":"

\"selski1.jpg\"<\/a><\/p>\n

Invisible Light by Margo Selski.<\/em><\/p>\n

The Glass Garage Fine Art Gallery has an online collection of paintings by Margo Selski<\/a>, many of which feature her cross-dressing son, Theo. Coilhouse profiled artist and model<\/a> earlier in the week. Some of these paintings mix oil with beeswax which is something I’ve not come across before.<\/p>\n

\u2022 The Periwinkle Journal<\/a>‘s first issue will be available online, free, from March 22nd until mid-June, featuring work by filmmaker and artist\u00a0Hans Scheirl <\/a>(Dandy Dust<\/em>), artwork and collages by\u00a0Genesis Breyer P-Orridge<\/a>, a 7-page colour comic by\u00a0Mavado Charon<\/a>, artwork by\u00a0Timothy Cummings<\/a>, artwork and installations by\u00a0Cody Chritcheloe\/SSION<\/a>, photos by\u00a0Megan Mantia<\/a>, Science-Heroes by\u00a0Peter Max Lawrence<\/a>, an illustration portfolio by\u00a0Diego G\u00f3mez<\/a>, selections from the\u00a0queer photography pool on Flickr<\/a>, reviews and other stuff. More later.<\/p>\n

\u2022 The Quietus wanted to remind us<\/a> that this year is the 25th anniversary of the NME<\/em>‘s C86<\/em> compilation tape, a collection that sought to capture a moment of ferment but which inadvertently inspired too much dreary sub-Velvet Underground pop<\/a>. I’d rather celebrate the 30th anniversary of the NME<\/em>‘s C81<\/em> compilation, a far more diverse collection and musically superior. If you want to judge for yourself, both tapes can be downloaded here<\/a>.<\/p>\n

\"selski2.jpg\"<\/a><\/p>\n

Machine in the Garden \u2014 Our Island Shall Know Abundance Without End by Margo Selski.<\/em><\/p>\n

\u2022 Rick Poynor continues his exploration<\/a> of Ballardian graphics with a piece about the paintings of Peter Klasen<\/a>. Related: Where Will It End?<\/a> JG Ballard interviewed by V. Vale & introduced by Michael Moorcock (Arthur<\/em> No. 15\/March 2005).<\/p>\n

In his autobiography, Miracles of Life<\/em>, JG Ballard suggested that illustrated versions of The Arabian Nights<\/em> helped prepare him for surrealism.<\/p>\n

Robert Irwin, author of <\/em>The Arabian Nightmare<\/a>, on the illustrators of <\/a><\/em>The Arabian Nights<\/a>.<\/em><\/p><\/blockquote>\n

\u2022 Another Coulthart cult movie surfaces, Jerzy Skolimowski’s Deep End<\/em><\/a> (1970), out of circulation for many years but newly restored by the BFI. A re-release is scheduled for May so I’m hoping now that a DVD release will follow soon after.<\/p>\n

\u2022 Thom Ayres’ photostream<\/a> at Flickr, and more long-exposure photos<\/a>.<\/p>\n

\u2022 Fuck You, A Magazine of the Arts<\/em><\/a>, number 5, volume 8.<\/p>\n

\u2022 Nicolas Roeg<\/a>: “I don’t want to be ahead of my time.”<\/p>\n

\u2022 MetaFilter looks at the films of Ren\u00e9 Laloux<\/a>.<\/p>\n

\u2022 The Eerie<\/em> covers<\/a> of Frank Frazetta.<\/p>\n

\u2022 Indie Squid Kid<\/a>.<\/p>\n

\u2022 Requiem (for String Orchestra)<\/em><\/a> by Toru Takemitsu.<\/p>\n","protected":false},"excerpt":{"rendered":"

Invisible Light by Margo Selski. The Glass Garage Fine Art Gallery has an online collection of paintings by Margo Selski, many of which feature her cross-dressing son, Theo. Coilhouse profiled artist and model earlier in the week. Some of these paintings mix oil with beeswax which is something I’ve not come across before. \u2022 The … Continue reading “Weekend links 50”<\/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":[52,2,42,9,21,7,5,22,3,44,12],"tags":[285,792,1952,2364,1292,2367,729,2361,2360,1673,137,2358,2362,2365,65,306,2359,2368,364,2366,895,1463,2371,2439,1303,1486,2363,274,2369],"class_list":["post-9027","post","type-post","status-publish","format-standard","hentry","category-animation","category-art","category-books","category-comics","category-fantasy","category-film","category-gay","category-horror","category-music","category-painting","category-photography","tag-arabian-nights","tag-ballardian","tag-cephalopods","tag-cody-chritcheloe","tag-coilhouse","tag-diego-gomez","tag-frank-frazetta","tag-genesis-breyer-p-orridge","tag-hans-scheirl","tag-jerzy-skolimowski","tag-jg-ballard","tag-margo-selski","tag-mavado-charon","tag-megan-mantia","tag-michael-moorcock","tag-nicolas-roeg","tag-periwinkle-journal","tag-peter-klasen","tag-peter-max","tag-peter-max-lawrence","tag-rene-laloux","tag-rick-poynor","tag-robert-irwin","tag-the-quietus","tag-the-velvet-underground","tag-thom-ayres","tag-timothy-cummings","tag-toru-takemitsu","tag-v-vale"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2lB","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/9027","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=9027"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/9027\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=9027"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=9027"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=9027"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}