Tuesday, November 15, 2011
Thursday, November 10, 2011
Goatwhore
Some pics from the Goatwhore,Exhumed show at Europa in Brooklyn last night. Didnt stay for Exhumed considering they didnt appear to have a single original member in the line up which always kind of weirds me out. Goatwhore always put on a great show, great energy, instigation of physical and emotional violence across the board. Havoc opened and played some pretty coo old school thrash without any under or over tomes of hipster fashion worship, great musicians. Thanks to Liz for the photo pass.
New photos
After a lengthy absence, Im re-establishing contact with the blogmasphere. This will contain mostly art based projects, my website containing the design work. Hope you enjoy.
Thursday, April 1, 2010
Helmut Lang
These are some clothes i designed the textile/print for in the last couple of months. YOu can see whcih part i did, its complex and symmetrical....Thanks to Michael Colovos the CD at Helmut Lang for the opportunity to work on a great project.
Immortal - Brooklyn Masonic Temple
The Immortal show at the Brooklyn Masonic Temple on Tuesday night was killer. Everything I expected from the blizzard beasts was supplied and supported but a great live performance and light show. For those who missed it because no-one in the band killed anyone or burnt a church down in 1991 then you missed a classic black metal show.
Tuesday, January 5, 2010
GISELE VIENNE/JONATHAN CAPDEVILLE/DENNIS COOPER: Jerk
Jerk might be unbearable for some. But in our eyes, theater so wisely woven with reality, however violent, is wholesome." - Les Inrockuptibles, France
Gisèle Vienne's Jerk is based on the chilling text of Dennis Cooper, an author deemed "the most dangerous writer in America" by the Village Voice. It is a story told from the vantage point of David Brooks, the real life accomplice to Texas serial killer Dean Corll who was responsible for the deaths of more than 25 teenage boys in the early 1970s.
Jerk is theatre at its starkest, a harrowing journey into the most hidden corners of the human psyche.
Performed by and created in collaboration with Jonathan Capdevielle
Gisèle Vienne's Jerk is based on the chilling text of Dennis Cooper, an author deemed "the most dangerous writer in America" by the Village Voice. It is a story told from the vantage point of David Brooks, the real life accomplice to Texas serial killer Dean Corll who was responsible for the deaths of more than 25 teenage boys in the early 1970s.
Jerk is theatre at its starkest, a harrowing journey into the most hidden corners of the human psyche.
Performed by and created in collaboration with Jonathan Capdevielle
Saturday, January 2, 2010
Friday, November 13, 2009
Friday, November 6, 2009
HEAVY METAL DESIGN IN PRINT magazine
The Exile of Satan from Heavy Metal Design
by Alan Rapp
Share/Save/Bookmark
—
Those "heavy metal" bands that debuted during that first palmy MTV generation sound like nontoxic pop compared to today’s vast offerings of subaltern metal genres, where intricate is the new heavy, and glacially slow is far more radical than hyperfast. Metal has evolved in such diverse directions—drawing from and crossing over with punk, math rock, noise, and avant-garde musical threads—that perhaps the real surprise is how audiences who never thought of themselves as metalheads are now exploring bands with names like Baroness, Gojira, Isis, and SUNN O))).
Detail from the 2009 Isis album Wavering Radiant
Heavy metal has evolved visually as well. Gone are the fantasy illustrations of radioactive zombies and band logos composed of overlapping swords. After a generation of sprouting subgenres, the heavy metal field is littered with a diversity of styles that even the most hardy metalhead will have trouble encompassing. As Ian Christe, author of Sound of the Beast: The Complete Headbanging History of Heavy Metal and publisher of the metal-oriented press Bazillion Points says, "Heavy metal design is not a monolithic form at all. You have everything from junior high school kids in Iowa drawing skulls and pentagrams and band logos to Norwegian design houses making skulls and pentagrams and band logos. There are all levels of sophistication and intention—and execution."
Heavy metal design today comprises a vast field of images that no longer compulsively refer to adolescent power and provocation fantasies. The genre’s pervading preoccupation with the occult yields far less goat and pentagram iconography—which became self-conscious clichés almost instantly anyway—than more ambiguously dark imagery. A few designers, some of the key musicians of the scene in their own right, have emerged to torque graphic conventions, and use strategies to indicate that metal, as a visual genre, is more multivalent and eloquent than mainstream design aficionados probably ever imagined.
Cover for Sunn O))) 2009 album Monoliths and Dimensions, which uses a monoprint by Richard Serra.
In part through the growing success of his doom metal band SUNN O))), Stephen O'Malley is arguably the most visible of these designers. Like SUNN O))), which is named for a vintage amp brand (and pronounced, "sun"), O’Malley keeps a toe in classical metal tropes but contributes an aesthete's sensibility. Having designed album covers and limited-edition packaging for his own projects and dozens of other bands, O'Malley literally put his mark on the scene through a simple yet radical reevaluation of that nexus of metal band identity—the logo. He abandoned hoary Blackletter-derived gothic ornamentalism and opted instead for a medium-weight sans serif for SUNN O)))'s logo, which he jokingly calls "Portland modernism." The move signaled not just a departure from custom: He visually cues the sonic hallmarks of the band—mass, mood, and deceptive simplicity. For the logo for his now defunct band Khanate, O'Malley distilled and crashed the Helvetica ultralight letterforms to such an extreme that only a tangle of nonreferential geometry remains—"vector madness," he calls it. "I see Stephen exploiting the very nature of [Adobe] Illustrator itself with that logo," says Ian Christe, suggesting that even this level of sophistication retains a core of the heavy metal ethos: "I would say it’s a metal trait to not stop at the bounds of sensibility."
The band logo has always been the nexus of identity for metal bands. Mike Essl, head of graphic design at Cooper Union and an avowed metalhead himself, sees it as parcel of attentive branding: "I think the thing we can take away from these metal logos is the craft involved in making them, the attention to form. If you look back at some of those '80s logos, it looks like they inherited a little bit from the New York school of design, like Herb Lubalin fast-forwarded. That attention to detail, the custom drawing and interlocking of typefaces, is what I try to use in my work and what inspires me."
Album cover for Stephen O'Malley's band Khanate
The genre's sense of restless invention saw the logo enter new territories, taking a notorious turn from neo-Lubalin to the perversely illegible with the arrival of European black metal. A Satanic and paganistic movement that solidified in the Scandinavian countries in the early '90s, many black metal bands played lightning fast, howling and screeching their vocals. Band personae tended toward the extremely theatrical—donning spikes and robes, covering their faces with white corpse-paint—while album covers often used imagery of wintry northern forests. But it was the spindly, spiky, branching logos that defined this subgenre for years. A game of international runic one-upmanship ensued, in which the band with the least legible logo was the most authentic. Such extremes couldn’t last forever of course, and Christe observes that a knowing readability has crept back in. "If you trace generations of heavy metal through the band logo styles, the newest is this suburban death metal, with bands like Job for a Cowboy, whose logo looks like it's made of stretched-out internal organs pinned to a lab dish—but it's legible instantly. It has all the markings of being completely out of control, but you can read it at first glance, which is always a sign of commercial intent."
It's also impossible for metal graphics to ignore the design culture at large. O'Malley sees the resurgence of the "dirty" manual look as one of the more intriguing trends in contemporary graphics, citing the work of Justin Bartlett and Aaron Turner: "The move back to DIY hand-drawn illustration looks pretty cool and suits underground metal." Turner is also a highly visible member of the metal graphics scene through his label Hydra Head, which he founded while still in college in 1993, and his band Isis is known for its heavily layered and complex songs. After studying painting and printmaking at Boston University, Turner, like O'Malley, taught himself Photoshop and Illustrator. "Once I understood the realm of possibility with digital apps, I explored them full-bore," says Turner. "After two or three years of focusing on the computer, I wanted to take what I learned with that and integrate it with the more hand-drawn approach I had started out with." Employing a distinctive line reminiscent of woodcuts, Turner's abstract, sometimes vermiform designs grace all of the packaging for Isis, and more than half of all Hydra Head releases. "For me, generating stuff by hand is a more direct and connected approach to making work," he continues. "It is more intimate and carries more of my personality than computer designs."
Illustration for Isis, published in German magazine Visions, by Seldon Hunt
Among the few designers Turner trusts to design for Hydra Head (including some Isis merch like posters and tees) are O'Malley and Brooklyn-based Australian Seldon Hunt, who deranges his work with a pointillist intensity of detail and mirror-imaging. His work treats ostensibly predictable metal tropes like skulls and desolate natural vistas yet eschews diabolism. He transfers an almost psychedelic power through dense information and rigorous symmetry. But he disavows the mantle of a metallized Fred Tomaselli: "I think the psychedelic nature of the work is there but I’ve never been influenced by psychedelic art, which I’ve always hated," says Hunt. "I do want people to be hypnotized, and the arrangement and detail is part of that. I want my work to look impossible, for someone to look at it and find through the level of detail that the work has a life of its own. But I don’t think it’s 'trippy.' It’s colder than that."
While O'Malley, Turner, and Hunt may plot three key points on the map of avant-garde metal design, their stylistic divergences support Christe's claim that diversification is inherently part of the aesthetic. Hunt agrees, and he's skeptical that metal's newfound coolness presages mainstream attention: "There’s no one aesthetic really … we like to say there's an aesthetic, but it's really just the logo on the T-shirt that differentiates us from people in the fashion industry or architects or computer programmers—they all tend to wear black as well. It's just that most of the stuff we make and wear tends to have something negative on it. I don’t think it's got a huge capacity to be involved in mainstream society."
Cover of Sunn O))) album ØØ Void
The nature of heavy metal, based as it is in countless suspensions of disbelief—of imagination, or as O’Malley posits, even of “transcendence”—may reveal itself to be ultimately quixotic. But the music and its corresponding visual messages are far more refined today, if still abrasive to the mainstream, and its practitioners continue to evolve these themes out of restlessness. “Metal is interesting because it really encompasses so many different types of music,” says O’Malley. “It has a strong aesthetic teetering on taboo, but isn’t really taboo. It’s just a little bit outsider.”
by Alan Rapp
Share/Save/Bookmark
—
Those "heavy metal" bands that debuted during that first palmy MTV generation sound like nontoxic pop compared to today’s vast offerings of subaltern metal genres, where intricate is the new heavy, and glacially slow is far more radical than hyperfast. Metal has evolved in such diverse directions—drawing from and crossing over with punk, math rock, noise, and avant-garde musical threads—that perhaps the real surprise is how audiences who never thought of themselves as metalheads are now exploring bands with names like Baroness, Gojira, Isis, and SUNN O))).
Detail from the 2009 Isis album Wavering Radiant
Heavy metal has evolved visually as well. Gone are the fantasy illustrations of radioactive zombies and band logos composed of overlapping swords. After a generation of sprouting subgenres, the heavy metal field is littered with a diversity of styles that even the most hardy metalhead will have trouble encompassing. As Ian Christe, author of Sound of the Beast: The Complete Headbanging History of Heavy Metal and publisher of the metal-oriented press Bazillion Points says, "Heavy metal design is not a monolithic form at all. You have everything from junior high school kids in Iowa drawing skulls and pentagrams and band logos to Norwegian design houses making skulls and pentagrams and band logos. There are all levels of sophistication and intention—and execution."
Heavy metal design today comprises a vast field of images that no longer compulsively refer to adolescent power and provocation fantasies. The genre’s pervading preoccupation with the occult yields far less goat and pentagram iconography—which became self-conscious clichés almost instantly anyway—than more ambiguously dark imagery. A few designers, some of the key musicians of the scene in their own right, have emerged to torque graphic conventions, and use strategies to indicate that metal, as a visual genre, is more multivalent and eloquent than mainstream design aficionados probably ever imagined.
Cover for Sunn O))) 2009 album Monoliths and Dimensions, which uses a monoprint by Richard Serra.
In part through the growing success of his doom metal band SUNN O))), Stephen O'Malley is arguably the most visible of these designers. Like SUNN O))), which is named for a vintage amp brand (and pronounced, "sun"), O’Malley keeps a toe in classical metal tropes but contributes an aesthete's sensibility. Having designed album covers and limited-edition packaging for his own projects and dozens of other bands, O'Malley literally put his mark on the scene through a simple yet radical reevaluation of that nexus of metal band identity—the logo. He abandoned hoary Blackletter-derived gothic ornamentalism and opted instead for a medium-weight sans serif for SUNN O)))'s logo, which he jokingly calls "Portland modernism." The move signaled not just a departure from custom: He visually cues the sonic hallmarks of the band—mass, mood, and deceptive simplicity. For the logo for his now defunct band Khanate, O'Malley distilled and crashed the Helvetica ultralight letterforms to such an extreme that only a tangle of nonreferential geometry remains—"vector madness," he calls it. "I see Stephen exploiting the very nature of [Adobe] Illustrator itself with that logo," says Ian Christe, suggesting that even this level of sophistication retains a core of the heavy metal ethos: "I would say it’s a metal trait to not stop at the bounds of sensibility."
The band logo has always been the nexus of identity for metal bands. Mike Essl, head of graphic design at Cooper Union and an avowed metalhead himself, sees it as parcel of attentive branding: "I think the thing we can take away from these metal logos is the craft involved in making them, the attention to form. If you look back at some of those '80s logos, it looks like they inherited a little bit from the New York school of design, like Herb Lubalin fast-forwarded. That attention to detail, the custom drawing and interlocking of typefaces, is what I try to use in my work and what inspires me."
Album cover for Stephen O'Malley's band Khanate
The genre's sense of restless invention saw the logo enter new territories, taking a notorious turn from neo-Lubalin to the perversely illegible with the arrival of European black metal. A Satanic and paganistic movement that solidified in the Scandinavian countries in the early '90s, many black metal bands played lightning fast, howling and screeching their vocals. Band personae tended toward the extremely theatrical—donning spikes and robes, covering their faces with white corpse-paint—while album covers often used imagery of wintry northern forests. But it was the spindly, spiky, branching logos that defined this subgenre for years. A game of international runic one-upmanship ensued, in which the band with the least legible logo was the most authentic. Such extremes couldn’t last forever of course, and Christe observes that a knowing readability has crept back in. "If you trace generations of heavy metal through the band logo styles, the newest is this suburban death metal, with bands like Job for a Cowboy, whose logo looks like it's made of stretched-out internal organs pinned to a lab dish—but it's legible instantly. It has all the markings of being completely out of control, but you can read it at first glance, which is always a sign of commercial intent."
It's also impossible for metal graphics to ignore the design culture at large. O'Malley sees the resurgence of the "dirty" manual look as one of the more intriguing trends in contemporary graphics, citing the work of Justin Bartlett and Aaron Turner: "The move back to DIY hand-drawn illustration looks pretty cool and suits underground metal." Turner is also a highly visible member of the metal graphics scene through his label Hydra Head, which he founded while still in college in 1993, and his band Isis is known for its heavily layered and complex songs. After studying painting and printmaking at Boston University, Turner, like O'Malley, taught himself Photoshop and Illustrator. "Once I understood the realm of possibility with digital apps, I explored them full-bore," says Turner. "After two or three years of focusing on the computer, I wanted to take what I learned with that and integrate it with the more hand-drawn approach I had started out with." Employing a distinctive line reminiscent of woodcuts, Turner's abstract, sometimes vermiform designs grace all of the packaging for Isis, and more than half of all Hydra Head releases. "For me, generating stuff by hand is a more direct and connected approach to making work," he continues. "It is more intimate and carries more of my personality than computer designs."
Illustration for Isis, published in German magazine Visions, by Seldon Hunt
Among the few designers Turner trusts to design for Hydra Head (including some Isis merch like posters and tees) are O'Malley and Brooklyn-based Australian Seldon Hunt, who deranges his work with a pointillist intensity of detail and mirror-imaging. His work treats ostensibly predictable metal tropes like skulls and desolate natural vistas yet eschews diabolism. He transfers an almost psychedelic power through dense information and rigorous symmetry. But he disavows the mantle of a metallized Fred Tomaselli: "I think the psychedelic nature of the work is there but I’ve never been influenced by psychedelic art, which I’ve always hated," says Hunt. "I do want people to be hypnotized, and the arrangement and detail is part of that. I want my work to look impossible, for someone to look at it and find through the level of detail that the work has a life of its own. But I don’t think it’s 'trippy.' It’s colder than that."
While O'Malley, Turner, and Hunt may plot three key points on the map of avant-garde metal design, their stylistic divergences support Christe's claim that diversification is inherently part of the aesthetic. Hunt agrees, and he's skeptical that metal's newfound coolness presages mainstream attention: "There’s no one aesthetic really … we like to say there's an aesthetic, but it's really just the logo on the T-shirt that differentiates us from people in the fashion industry or architects or computer programmers—they all tend to wear black as well. It's just that most of the stuff we make and wear tends to have something negative on it. I don’t think it's got a huge capacity to be involved in mainstream society."
Cover of Sunn O))) album ØØ Void
The nature of heavy metal, based as it is in countless suspensions of disbelief—of imagination, or as O’Malley posits, even of “transcendence”—may reveal itself to be ultimately quixotic. But the music and its corresponding visual messages are far more refined today, if still abrasive to the mainstream, and its practitioners continue to evolve these themes out of restlessness. “Metal is interesting because it really encompasses so many different types of music,” says O’Malley. “It has a strong aesthetic teetering on taboo, but isn’t really taboo. It’s just a little bit outsider.”
Thursday, November 5, 2009
ISIS European Tour poster
Current European Tour poster for ISIS, as they create havoc across the continent. You can get it at the shows, its 18" x 24" and beautifully printed by Wes of the Burlesque people. If you live outside of Europe or you miss the show in Europe you can get one at www.shirtsanddestroy.com
While stocks last...
New giclee print
This is the new giclee print that will be released by the lovely folks at Shirts and Destroy up there near Boston. The accompanying deck design will be released by Substance Abuse skateboards.
Pelican.
New Pelican art coming out or is probably out now on Southern Lord. Really happy with this piece. Andrew Wiese took the original photos.
Back on board
Ok, so ive been a bit slack maintaining this but ive decided to get back on the horse and make sure i keep this updated with various points of interest. Its been a busy year, so apologies to those who saw that this blog was about as interesting as a raw pasta being interviewed by a deaf monkey. It begins again....
Monday, June 29, 2009
Wednesday, June 3, 2009
Tuesday, May 5, 2009
Sunday, May 3, 2009
ISIS Tour prints for sale.
Now available. Isis 'Panopticon' Tour series. This set of prints has completely sold out in the original batch, from back in 2004-5 when Isis toured Australia/Japan, Europe and the USA. Originally they were offset printed on non archival paper as tour support. Now due to some interest in these bad boys, I have printed up a limited edition series, as high quality, giclee prints, at a wopping 18" x 24" on 300gsm French archival rag. These are larger than the original posters and have truly remarkable color depth and detail. The edition is 50 of each poster.
Prices are $80 for a single poster, or the bargain price of $200 for the set.
They are available at www.seldonhunt.com
or at www.myspace.com/seldonhunt
or email seldonhunt@seldonhunt.com to make enquires, or to pay by check or cash.
Thursday, June 5, 2008
CROWLEY in PARIS
CROWLEY 29 05 2008
Crowley artworks on show in Paris...
Ordo Templi Orientis has been working with the Centre Pompidou, the Warburg and the Palais de Tokyo to assist, in a minor way, with two truly important art shows, both featuring works by Aleister Crowley.
FIRST SHOW:
CENTRE POMPIDOU — TRACES DU SACRÉ
May 8 - August 11
The Centre Pompidou in Paris is mounting a show commemorating the anniversary of its founding as the most prominent state-owned museum of modern art in France, titled “Traces du Sacré.” The show opens to the public on May 7 in Gallery 1, and runs until August 11. The curators have assembled a wide-ranging exploration of spirituality and esotericism in Europe and America in last century, drawing on their own holdings as well as those of other institutions and collectors around the world. The Warburg Institute has kindly loaned four newly-restored Thoth Tarot paintings by Aleister Crowley and Frieda, Lady Harris: The High Priestess, The Hermit, The Moon and The Aeon. One important, previously unknown Aleister Crowley oil painting will be included in the “Great Initiates” section of the show, kindly loaned by the owner of the group of paintings that form the second Palais du Tokyo show (discussed in detail below, this show runs concurrently with the Centre Pompidou show for a month from June 5). Also on view will be Cameron’s remarkable large-scale portait of Jack Parsons, “Dark Angel” — all part of the curatorial take on the “Lucifer Rising” mythos of Kenneth Anger. Also featured are works by Harry Smith, Jordan Belson and many others influenced directly or indirectly by Crowley and his students. Of course the overall context of the show, including Arp, Brancusi, Chagall, De Chirico, Dali, Dix, DuChamp, Giocometti, Goya, Kandinsky, Klee, Kupka, Miro, Mondrian, Munch, Picasso, Warhol etc. etc., is breathtaking. That Crowley should be included with these artists in a retrospective — one that takes into account the incredibly influential spiritual and artistic undergrounds — is groundbreaking. A comprehensive catalog will be available for purchase. After Paris, a smaller group of works (that will not include the Crowley-Harris Thoth paintings) travels to Münich.
The Centre Pompidou’s own English show synopsis (as of late fall of last year and therefore subject to change) is as follows:
SYNOPSIS
Title: Traces du sacré
Site: Centre Georges Pompidou – MNAM
Dates: 7th May 2008 – 11th August 2008. Paris
Theme: The relations between spirituality and Western art of the 20th Century
Curators: Alfred Pacquement, Jean de Loisy, Angela Lampe
Number of works: about 350 (including documents)
Second venue : Haus der Kunst, Munich, 11th September 2008 – 11th January 2009
The Centre Pompidou is in preparation of a major exhibition that will explore some of the predominant aspects in the relationship between Western art and spirituality. This inquiry will have as its foundational starting point, within the history of art, the faith-seeking vision undertaken by the German Romantics, as well as a Nietzscheian philosophy that sought a revaluation of society, proclaiming the death of God. The 20th Century was ushered in deep within this tumult of upturning beliefs, within the modernization of Western societies, heavy with what Max Weber asserted as the “disenchantment of the world.” The combating forces of capitalism and Marxism, the triumph of industry, the rapid development of the urban landscape, the spread of psycho-analytical theories, the rise of utopian tendencies, all pushed modern man further and further into not only reconsidering his religious stance and his place within existence, but into being forced, compelled, necessitated into reconsidering this spiritual orientation. This spiritual crisis unleashed a host of new forms within the metaphysical questioning of art. From Wassily Kandinsky to Francis Bacon, from Barnett Newman to Bill Viola, from Brancusi to Cattelan, modern art continually forms diverse and opposing responses to this spiritual interrogation, sometimes as answer, sometimes as further question.
The aim of this exhibition is to explore, throughout the 20th Century, the most outstanding artistic expressions of this spiritual quest and to show how it continually, up to the present day, invents new, dynamic signs.
The exhibition follows a chronological path and deals directly with many of the major aesthetic movements of the 20th century; a rich documentation will clarify and support their historical, cultural, and philosophical contexts. Each room is separately devoted to a specific response to the spiritual crisis. In order to evaluate the permanence of these responses through the century, each specific room, in building historical moments, will also include the work of a contemporary artist. To highlight the universality of the inquiry, a few non-western works will also be included.
(This following non exhaustive list is the one of the exhibition in Paris. The second venue in Munich will present a reduced, concentrated version. Works only shown in Paris)
* Metaphysical anxiety: Christian Boltanski, Mounir Fatmi, Bruce Nauman
* Dead of God: Francisco Goya, Caspar David Friedrich, August Strindberg, Edvard Munch, Henry De Groux, Lucio Fontana, Gino De Dominicis, Carl Gustav Carus
* Nostalgia for the infinite: Giorgio De Chirico, Odilon Redon, Ferdinand Hodler, Pierre Huyghe, Constantin Brancusi, Gina Pane, Damien Hirst
* The great initiates: Jean Delville, Charles Sellier, Rudolph Steiner, Aleister Crowley, Hugo Ball, Gino De Dominicis
* Syncretism: Paul Elie Ranson, Hilma Af Klint, Marcel Duchamp, Akseli Gallen Kallela, Piet Mondrian, Usco
* Aura: Frantisek Kupka, Marcel Duchamp, Theo Van Doesbourg, Vassily Kandinsky, Yves Klein, James Lee Byars
* Metaphysical Science: Frantisek Kupka, Kasimir Malevitch, Yvan Kliun, Augusto Giacometti, Rudolph Steiner, Paul Sérusier, Anish Kapoor, Frank Scurti
* Cosmogonics: Andrej Belyj, Hilma Af Klint, Johannes Itten, Gulya Pap, Sigmar Polke, Augustin Lesage, Matt Mullican
* Crystal: Hermann Obrist, Wenzel Hablick, Kurt Schwitters, Hans Scharoun, Johannes Molzahn, Hermann Finsterlin, Wassili Luckhardt, Pablo Picasso, Pierre Huyghe, Corey Mc Corkle, Akunov
* Homo novus: Paul Klee, Andrej Belyj, Jean Delville, Umberto Boccioni, Otto Dix, Marc Chagall, Frantisek Kupka, Alexej von Jawlensky, Adel Abdessemed
* The Absolute: Piet Mondrian, Kasimir Malevith, Constantin Brancusi, Niele Toroni
* Eden: Franz Marc, Vladimir Baranov-Rossiné, Erich Heckel, Jean Arp, Paul Klee
* Dance: André Derain, Emil Nolde, Vaslav Nijinski, Antoine Bourdelle, Mary Wigman, Ernst Kirchner, Léon Backst, Adolphe de Meyer, Auguste Rodin, Rudolf Von Laban
* Discovering other spiritualities: Emil Nolde, Pablo Picasso, Marcel Janco, Cameron Jamie, Aby Warburg et André Breton, Victor Brauner, Jan Matulka, Lee Miller, Roland Penrose
* Eros et Thanatos: Salvador Dali, Eli Lotar, Man Ray, André Masson, Pierre Molinier, Pablo Picasso, Stanikas
* Profanation: George Grosz, Max Ernst, Francis Picabia, Salvador Dali, Man Ray, Thierry De Cordier, Antonin Artaud, Mounir Fatmi, John Latham, Andrès Serrano
* Apocalypse: Vassily Kandinsky, Max Beckmann, Otto Dix, Wilhelm Lehmbruck, Murnau, Maurizio Cattelan, Douglas Gordon, Bruno Perramant
* Man of sorrow: Francis Bacon, Robert Smithson, Jerzi Grotowsky, Christer Strömholm, Bruce Nauman
* Room for St John of the Cross: Bill Viola
* The renaissance of religion after 1950: Maurice Denis, Georges Rouault, Fernand Leger, Henri Matisse, Le Corbusier, Germaine Richier, Jean Lurçat, Joseph Beuys, Jacques Lipchitz
* Despate of the night: Jean-Michel Alberola, Pierre Buraglio, Thierry De Cordier, Jannis Kounellis, Mark Rothko, Kris Martin, Yazid Oulab, Eli Petel, Emmanuel Saulnier
* Mythmakers: Matta, Wifredo Lam, Jackson Pollock, Mark Rothko, Barnett Newman, André Masson, Lee Mullican, Wolfgang Paalen, Robert Smithson, Tobias Collier
* Sublime: Barnett Newman
* Shamanism: Joseph Beuys, Hans Namuth/Pollock, Etienne-Martin
* Beat: Allen Ginsberg, Brion Gysin, Wallace Berman, Bruce Conner, Jay DeFeo, John Giorno, Henri Michaux, Jean-Jacques Lebel, Allen Ginsberg, Jack Kerouac, Aldous Huxley
* Lucifer Rising: Rick Griffin / Kenneth Anger, Cameron, Aleister Crowley / Frieda Harris
* Psychedelics: Isaac Abrams, Jud Yalkut, Pardo, Peter Segdley, Paul Thek, Patrick O’Neill, Usco, Harry Smith, Joshua White
* Sacrifice: Marina Abramovic, Rebecca Horn, Michel Journiac, Herman Nitsch, Yazid Oulab
* Zen: Nam June Paik, Robert Filliou, John Cage, Jean Degottex, Ad Reinhardt, Charwei Tsai, On Kawara, Roman Opalka
* Shadow of God: Andy Warhol, Moshe Ninio, Paul Chan
* Desecularisation: Jean-Michel Alberola, Jonathan Monk
SECOND SHOW
PALAIS DE TOKYO — LA CHAMBRE DES CAUCHEMARS: PEINTURES INCONNUES D’ALEISTER CROWLEY
June 6 - 29
This opening of the show at the Palais de Tokyo is June 5, 7-9 p.m. Kenneth Anger will be on hand at the opening and events are expected to be scheduled. This important show features a newly discovered trove of important oil paintings by Aleister Crowley. This amazing collection, owned by descendants of an artist-acquaintance of Crowley’s in Sicily, was only recently brought to light by Dr. Marco Pasi, the well-known Crowley scholar on the faculty of the University of Amsterdam’s graduate school in Hermeticism and Related Currents. Fifteen paintings of the sixteen in the collection will be exhibited — one, as noted above, is included in the Centre Pompidou show. A color catalog is being produced that will include articles by Dr. Pasi and others. This show is a rare chance to see a unified collection of oils that are of such quality that they may well provide the basis for the serious attention of art scholars and critics that Crowley’s painting deserves. Dating from his Cefalu period, they comprise an amazing collection of works produced when Crowley was at the height of his artistic powers.
http://www.lashtal.com/CP_MODULE_CROWLEY.pdf
Le Hiérophante (Tarot Card Study)
Oil on wood, 24.20 x 19 cm. Copyright © Ordo Templi Orientis.
Crowley artworks on show in Paris...
Ordo Templi Orientis has been working with the Centre Pompidou, the Warburg and the Palais de Tokyo to assist, in a minor way, with two truly important art shows, both featuring works by Aleister Crowley.
FIRST SHOW:
CENTRE POMPIDOU — TRACES DU SACRÉ
May 8 - August 11
The Centre Pompidou in Paris is mounting a show commemorating the anniversary of its founding as the most prominent state-owned museum of modern art in France, titled “Traces du Sacré.” The show opens to the public on May 7 in Gallery 1, and runs until August 11. The curators have assembled a wide-ranging exploration of spirituality and esotericism in Europe and America in last century, drawing on their own holdings as well as those of other institutions and collectors around the world. The Warburg Institute has kindly loaned four newly-restored Thoth Tarot paintings by Aleister Crowley and Frieda, Lady Harris: The High Priestess, The Hermit, The Moon and The Aeon. One important, previously unknown Aleister Crowley oil painting will be included in the “Great Initiates” section of the show, kindly loaned by the owner of the group of paintings that form the second Palais du Tokyo show (discussed in detail below, this show runs concurrently with the Centre Pompidou show for a month from June 5). Also on view will be Cameron’s remarkable large-scale portait of Jack Parsons, “Dark Angel” — all part of the curatorial take on the “Lucifer Rising” mythos of Kenneth Anger. Also featured are works by Harry Smith, Jordan Belson and many others influenced directly or indirectly by Crowley and his students. Of course the overall context of the show, including Arp, Brancusi, Chagall, De Chirico, Dali, Dix, DuChamp, Giocometti, Goya, Kandinsky, Klee, Kupka, Miro, Mondrian, Munch, Picasso, Warhol etc. etc., is breathtaking. That Crowley should be included with these artists in a retrospective — one that takes into account the incredibly influential spiritual and artistic undergrounds — is groundbreaking. A comprehensive catalog will be available for purchase. After Paris, a smaller group of works (that will not include the Crowley-Harris Thoth paintings) travels to Münich.
The Centre Pompidou’s own English show synopsis (as of late fall of last year and therefore subject to change) is as follows:
SYNOPSIS
Title: Traces du sacré
Site: Centre Georges Pompidou – MNAM
Dates: 7th May 2008 – 11th August 2008. Paris
Theme: The relations between spirituality and Western art of the 20th Century
Curators: Alfred Pacquement, Jean de Loisy, Angela Lampe
Number of works: about 350 (including documents)
Second venue : Haus der Kunst, Munich, 11th September 2008 – 11th January 2009
The Centre Pompidou is in preparation of a major exhibition that will explore some of the predominant aspects in the relationship between Western art and spirituality. This inquiry will have as its foundational starting point, within the history of art, the faith-seeking vision undertaken by the German Romantics, as well as a Nietzscheian philosophy that sought a revaluation of society, proclaiming the death of God. The 20th Century was ushered in deep within this tumult of upturning beliefs, within the modernization of Western societies, heavy with what Max Weber asserted as the “disenchantment of the world.” The combating forces of capitalism and Marxism, the triumph of industry, the rapid development of the urban landscape, the spread of psycho-analytical theories, the rise of utopian tendencies, all pushed modern man further and further into not only reconsidering his religious stance and his place within existence, but into being forced, compelled, necessitated into reconsidering this spiritual orientation. This spiritual crisis unleashed a host of new forms within the metaphysical questioning of art. From Wassily Kandinsky to Francis Bacon, from Barnett Newman to Bill Viola, from Brancusi to Cattelan, modern art continually forms diverse and opposing responses to this spiritual interrogation, sometimes as answer, sometimes as further question.
The aim of this exhibition is to explore, throughout the 20th Century, the most outstanding artistic expressions of this spiritual quest and to show how it continually, up to the present day, invents new, dynamic signs.
The exhibition follows a chronological path and deals directly with many of the major aesthetic movements of the 20th century; a rich documentation will clarify and support their historical, cultural, and philosophical contexts. Each room is separately devoted to a specific response to the spiritual crisis. In order to evaluate the permanence of these responses through the century, each specific room, in building historical moments, will also include the work of a contemporary artist. To highlight the universality of the inquiry, a few non-western works will also be included.
(This following non exhaustive list is the one of the exhibition in Paris. The second venue in Munich will present a reduced, concentrated version. Works only shown in Paris)
* Metaphysical anxiety: Christian Boltanski, Mounir Fatmi, Bruce Nauman
* Dead of God: Francisco Goya, Caspar David Friedrich, August Strindberg, Edvard Munch, Henry De Groux, Lucio Fontana, Gino De Dominicis, Carl Gustav Carus
* Nostalgia for the infinite: Giorgio De Chirico, Odilon Redon, Ferdinand Hodler, Pierre Huyghe, Constantin Brancusi, Gina Pane, Damien Hirst
* The great initiates: Jean Delville, Charles Sellier, Rudolph Steiner, Aleister Crowley, Hugo Ball, Gino De Dominicis
* Syncretism: Paul Elie Ranson, Hilma Af Klint, Marcel Duchamp, Akseli Gallen Kallela, Piet Mondrian, Usco
* Aura: Frantisek Kupka, Marcel Duchamp, Theo Van Doesbourg, Vassily Kandinsky, Yves Klein, James Lee Byars
* Metaphysical Science: Frantisek Kupka, Kasimir Malevitch, Yvan Kliun, Augusto Giacometti, Rudolph Steiner, Paul Sérusier, Anish Kapoor, Frank Scurti
* Cosmogonics: Andrej Belyj, Hilma Af Klint, Johannes Itten, Gulya Pap, Sigmar Polke, Augustin Lesage, Matt Mullican
* Crystal: Hermann Obrist, Wenzel Hablick, Kurt Schwitters, Hans Scharoun, Johannes Molzahn, Hermann Finsterlin, Wassili Luckhardt, Pablo Picasso, Pierre Huyghe, Corey Mc Corkle, Akunov
* Homo novus: Paul Klee, Andrej Belyj, Jean Delville, Umberto Boccioni, Otto Dix, Marc Chagall, Frantisek Kupka, Alexej von Jawlensky, Adel Abdessemed
* The Absolute: Piet Mondrian, Kasimir Malevith, Constantin Brancusi, Niele Toroni
* Eden: Franz Marc, Vladimir Baranov-Rossiné, Erich Heckel, Jean Arp, Paul Klee
* Dance: André Derain, Emil Nolde, Vaslav Nijinski, Antoine Bourdelle, Mary Wigman, Ernst Kirchner, Léon Backst, Adolphe de Meyer, Auguste Rodin, Rudolf Von Laban
* Discovering other spiritualities: Emil Nolde, Pablo Picasso, Marcel Janco, Cameron Jamie, Aby Warburg et André Breton, Victor Brauner, Jan Matulka, Lee Miller, Roland Penrose
* Eros et Thanatos: Salvador Dali, Eli Lotar, Man Ray, André Masson, Pierre Molinier, Pablo Picasso, Stanikas
* Profanation: George Grosz, Max Ernst, Francis Picabia, Salvador Dali, Man Ray, Thierry De Cordier, Antonin Artaud, Mounir Fatmi, John Latham, Andrès Serrano
* Apocalypse: Vassily Kandinsky, Max Beckmann, Otto Dix, Wilhelm Lehmbruck, Murnau, Maurizio Cattelan, Douglas Gordon, Bruno Perramant
* Man of sorrow: Francis Bacon, Robert Smithson, Jerzi Grotowsky, Christer Strömholm, Bruce Nauman
* Room for St John of the Cross: Bill Viola
* The renaissance of religion after 1950: Maurice Denis, Georges Rouault, Fernand Leger, Henri Matisse, Le Corbusier, Germaine Richier, Jean Lurçat, Joseph Beuys, Jacques Lipchitz
* Despate of the night: Jean-Michel Alberola, Pierre Buraglio, Thierry De Cordier, Jannis Kounellis, Mark Rothko, Kris Martin, Yazid Oulab, Eli Petel, Emmanuel Saulnier
* Mythmakers: Matta, Wifredo Lam, Jackson Pollock, Mark Rothko, Barnett Newman, André Masson, Lee Mullican, Wolfgang Paalen, Robert Smithson, Tobias Collier
* Sublime: Barnett Newman
* Shamanism: Joseph Beuys, Hans Namuth/Pollock, Etienne-Martin
* Beat: Allen Ginsberg, Brion Gysin, Wallace Berman, Bruce Conner, Jay DeFeo, John Giorno, Henri Michaux, Jean-Jacques Lebel, Allen Ginsberg, Jack Kerouac, Aldous Huxley
* Lucifer Rising: Rick Griffin / Kenneth Anger, Cameron, Aleister Crowley / Frieda Harris
* Psychedelics: Isaac Abrams, Jud Yalkut, Pardo, Peter Segdley, Paul Thek, Patrick O’Neill, Usco, Harry Smith, Joshua White
* Sacrifice: Marina Abramovic, Rebecca Horn, Michel Journiac, Herman Nitsch, Yazid Oulab
* Zen: Nam June Paik, Robert Filliou, John Cage, Jean Degottex, Ad Reinhardt, Charwei Tsai, On Kawara, Roman Opalka
* Shadow of God: Andy Warhol, Moshe Ninio, Paul Chan
* Desecularisation: Jean-Michel Alberola, Jonathan Monk
SECOND SHOW
PALAIS DE TOKYO — LA CHAMBRE DES CAUCHEMARS: PEINTURES INCONNUES D’ALEISTER CROWLEY
June 6 - 29
This opening of the show at the Palais de Tokyo is June 5, 7-9 p.m. Kenneth Anger will be on hand at the opening and events are expected to be scheduled. This important show features a newly discovered trove of important oil paintings by Aleister Crowley. This amazing collection, owned by descendants of an artist-acquaintance of Crowley’s in Sicily, was only recently brought to light by Dr. Marco Pasi, the well-known Crowley scholar on the faculty of the University of Amsterdam’s graduate school in Hermeticism and Related Currents. Fifteen paintings of the sixteen in the collection will be exhibited — one, as noted above, is included in the Centre Pompidou show. A color catalog is being produced that will include articles by Dr. Pasi and others. This show is a rare chance to see a unified collection of oils that are of such quality that they may well provide the basis for the serious attention of art scholars and critics that Crowley’s painting deserves. Dating from his Cefalu period, they comprise an amazing collection of works produced when Crowley was at the height of his artistic powers.
http://www.lashtal.com/CP_MODULE_CROWLEY.pdf
Le Hiérophante (Tarot Card Study)
Oil on wood, 24.20 x 19 cm. Copyright © Ordo Templi Orientis.
Henson Images cleared by Censorship board
Censors decide on PG rating for Henson child photo
David Marr
June 6, 2008
IT'S official. The naked girl that sparked the Bill Henson fuss is not porn. The sight of her on an invitation to the photographer's Sydney exhibition a couple of weeks ago provoked shock and outrage, but the Classifications Board has now declared the picture "mild" and safe for many children.
It is believed the Director of Public Prosecutions is on the verge of advising NSW police that any prosecution of Henson would be unlikely to succeed.
The case against Henson appears close to collapse.
The Classification Board, under its new chief, former head of the ABC Donald McDonald, has now given the young girl on the invitation the rating PG.
Considered one of the most confronting in the Henson exhibition, the picture came to the board for classification when it was discovered in a blog discussing pornography and the sexualisation of children. But the classifiers found the "image of breast nudity … creates a viewing impact that is mild and justified by context … and is not sexualised to any degree".
While a minority of the board thought the impact of the picture was "moderate" rather than "mild", none of the classifiers thought it deserved banning or called for any restriction on its display.
The board's guidelines state: "Material classified PG may contain material which some children find confusing or upsetting, and may require the guidance of parents or guardians. It is not recommended for viewing or playing by persons under 15 without guidance from parents or guardians."
This verdict is bad news for police hoping to convince the DPP, Nicholas Cowdery, QC, that Henson's photographs would provoke the "offence to reasonable persons" needed to prosecute him as a child pornographer.
Another hurdle for police is Henson's right to call expert evidence that his work has artistic merit or purpose. Legal commentators over the past fortnight have generally argued this makes his prosecution either as a pornographer or publisher of indecent articles highly unlikely.
Police seized 32 Henson photographs from Sydney's Roslyn Oxley9 gallery on May 23 following uproar the previous day on talkback radio.
Since then, Henson photographs have been removed from the walls of two regional NSW galleries and impounded at the National Gallery in Canberra.
David Marr
June 6, 2008
IT'S official. The naked girl that sparked the Bill Henson fuss is not porn. The sight of her on an invitation to the photographer's Sydney exhibition a couple of weeks ago provoked shock and outrage, but the Classifications Board has now declared the picture "mild" and safe for many children.
It is believed the Director of Public Prosecutions is on the verge of advising NSW police that any prosecution of Henson would be unlikely to succeed.
The case against Henson appears close to collapse.
The Classification Board, under its new chief, former head of the ABC Donald McDonald, has now given the young girl on the invitation the rating PG.
Considered one of the most confronting in the Henson exhibition, the picture came to the board for classification when it was discovered in a blog discussing pornography and the sexualisation of children. But the classifiers found the "image of breast nudity … creates a viewing impact that is mild and justified by context … and is not sexualised to any degree".
While a minority of the board thought the impact of the picture was "moderate" rather than "mild", none of the classifiers thought it deserved banning or called for any restriction on its display.
The board's guidelines state: "Material classified PG may contain material which some children find confusing or upsetting, and may require the guidance of parents or guardians. It is not recommended for viewing or playing by persons under 15 without guidance from parents or guardians."
This verdict is bad news for police hoping to convince the DPP, Nicholas Cowdery, QC, that Henson's photographs would provoke the "offence to reasonable persons" needed to prosecute him as a child pornographer.
Another hurdle for police is Henson's right to call expert evidence that his work has artistic merit or purpose. Legal commentators over the past fortnight have generally argued this makes his prosecution either as a pornographer or publisher of indecent articles highly unlikely.
Police seized 32 Henson photographs from Sydney's Roslyn Oxley9 gallery on May 23 following uproar the previous day on talkback radio.
Since then, Henson photographs have been removed from the walls of two regional NSW galleries and impounded at the National Gallery in Canberra.
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