AN ERIC GILL FOR TODAY

A fine rendering by Eric Gill of the Lion Of St. Mark, still awaiting the Gospel on which his paw is meant to rest.

Gill was a very strange man.  A devout Roman Catholic, he created a lot of superb religious imagery, and a lot of very explicit erotic imagery, also superb.  Some artists can hold those two realms in their imaginations at the same time — like Prince, for example, before he got seriously into the Jehovah's Witness thing, whatever that is, and started censoring the dirty bits out of his early work.

Sometimes, for Gill, though very rarely, the religious and the erotic inter-penetrated in his art, as it were, and he entered the realm of blasphemy — as when he depicted Jesus having sex with an unidentified female saint.  Both wear halos.  There is a place for such images in art, transgressive and shocking as they may be to some, since they record genuine tensions that grip the human heart.

In his personal life, however, Gill got seriously unhinged.  He sexually abused his children, committed incest with his sister and engaged in sexual acts with his dog.  This naturally tends to color one's view of his work, which is a shame, since his work is very good.  He just had a screw loose somewhere — I suppose it could happen to an accountant as easily as to an artist.

TENDERLOIN

Cartoonist Winsor McCay never ceases to amaze.  I love this particular image (despite the preposterous ethnic caricature) because its cityscape reminds me of my old neighborhood in Manhattan, which real estate agents called North Chelsea but was in fact the old Garment District and before that, in the days when Teddy Roosevelt was New York's Police Commissioner, the Tenderloin, a precinct largely devoted to sin.  It's made up mostly of late 19th-Century and early 20th-Century commercial buildings like the ones in McCay's panels, with more than a few even older townhouses.  It has become a dreamscape to me now, which McCay's image evokes precisely.

[With thanks to a delightful web site devoted to McCay's work — Meeting McCay.]

A QUOTE FOR TODAY FROM PHILIPPE SOLLERS

Une femme qui tolère votre sommeil fait plus que vous aimer, elle vous pardonne d'exister.

(A woman who tolerates your sleeping does more than love you — she pardons you for existing.)

                                                                              — Philippe Sollers

[With thanks to Femme Femme Femme for the quote — image by Cabanel, a Victorian painter famous for his historical and mythological works, which tended to be florid and a bit silly, but whose portraits could be very fine, indeed.]

GIRLS, THE MOON, THE SEA

Tristan, on his blog the emotional blackmailers handbook, recently posted the above painting by Winslow Homer, Summer Night, which I was happy to be reminded of.  There's something mysterious and wonderful about the image — two girls dancing together, by the sea, in the light of the moon.  It's not quite erotic, but there are tidal forces at work here which might easily lure a lost mariner to his doom, if he didn't have all his wits about him, crossing the bar.

Check out Tristan's site, which usually contains photographs of lovely, gracious things in and around London.  It's like a visit to a fine old pub, where you can knock back a pint of Guinness in a corner by yourself and mull over visions like the one above . . . at a safe distance.  In that corner, starting on your second pint, you might call to mind, if you've been wise enough to memorize it, this poem by Tennyson:

Sunset and evening star,

And one clear call for me!


And may there be no moaning of the bar,


When I put out to sea,



But such a tide as moving seems asleep,


Too full for sound and foam,


When that which drew from out the boundless deep


Turns again home.



Twilight and evening bell,


And after that the dark!


And may there be no sadness of farewell,


When I embark;



For though from out our bourne of Time and Place


The flood may bear me far,


I hope to see my Pilot face to face


When I have crossed the bar.

STRANGE EROTIC DREAMS SWEEP NATION

Amy Crehore is showing her stuff in two art exhibitions opening next week, one in Las Vegas at the Hardrock Hotel & Casino starting tomorrow and running for two days and one in Brooklyn at the Ad Hoc Art gallery starting on the 25th and running through August 24th .

An image from the Brooklyn show is seen above, one from the Las Vegas show below:

If you're wandering around either of these two cities in the days ahead, drunk, heartsick, sorry about the whole thing, wondering where it all went wrong, try an art pick-me-up — good for what ails you.  Here are the details:

“CRIMES ON CANVAS” at HARDROCK HOTEL & CASINO

HUGE Art Exhibition in Las Vegas
Friday, July 18th – 7pm to Midnight
& Sat. July 19th – 1:00pm to Midnight

Curated by m modern Gallery

Free & Open to the Public!

And . . . clear across the country, practically . . .

“5 IDENTITIES, 5 DESTINATIONS” at AD HOC ART



49 Bogart Street, Brooklyn, NY


718-366-2466


Opening July 25, 2008 from 7-10pm


Gallery hours Wed-Sunday 1-8pm


Crehore will attend the Brooklyn opening.

LITTLE ORPHAN ANNIE

Things just keep getting better and better for fans of classic American comic strips.  Little Orphan Annie has just been added to the list of strips that are being reprinted in volumes that will eventually cover the entire runs of these comics.

The first volume is available now.  It includes the first few years of the strip, beautifully reproduced, mostly from Harold Gray's original drawings or from the syndication proofs.  In them, the plucky Annie knocks about America spreading kindness or kicking ass, as the situation requires.

Here's a philosophical question for you.  Why was it that American popular culture, back in the darkest days of patriarchy, kept coming up with images of powerful little girls, like Annie and Dorothy of Kansas, who set off on their own on dangerous journeys and triumphed over all adversities by force of character . . . while in our own nominally feminist age the most prominent role models for young girls are sexually objectified teen tartlets?

There are now four volumes out of the early Dick Tracy strips, seven or eight of Krazy Kat, three of Gasoline Alley and Terry and the Pirates, two books which contain complete runs of Winsor McCay's Little Sammy Sneeze and Dreams Of the Rarebit Fiend — plus two huge volumes which reprint color Sunday pages from Gasoline Alley and Little Nemo In Slumberland.  If you pile them all up beside your bed or easy chair and read a few strips or pages a day, you've got your own personal funny pages to hand, some compensation for the fact that modern newspapers have no space for popular art this brilliant and this entertaining.

WILL ELDER

Will Elder died this month.  He was one of the geniuses behind the miracle of Mad Magazine, working closely with its founder Harvey Kurtzman, turning Kurtzman's savage satires of American popular culture into amazing visual equivalents.

It's impossible to overstate the importance of Mad to the generations of kids who grew up in the Fifties and Sixties and found in it an antidote to the oppressive onslaught of the official corporate culture.  I can still remember my first encounter with the magazine in the late Fifties, when I was eight or nine.  The issue I saw featured an insert of full-color package labels that could be pasted over real package labels, turning a jar of baby food, for example, into a container for some sort of toxic waste.

Consumer culture in the Fifties had an aura of religious sanctity, identified with all that was good about America — to savage it so mercilessly was to encourage an interior critique of that culture, to free the spirit from its spell.  Mad Magazine didn't inspire laughter so much as exhilaration, the exhilaration of free thought.  It was Mad Magazine that represented all that was truly good about America.

Elder's meticulous, obsessive attention to detail lifted Mad from the realm of mere sarcastic attitude into the realm of serious social criticism.  Elder both loved and hated the official culture he mocked, and that gave his visions real power.

If you click on the image above (or here) you can see a larger version of it — the better to appreciate its fanatical draftsmanship.  Elder expended extraordinary energies of commitment and passion to shove his subversive visions in your face.

(With thanks to Potrzebie for the image, which is © 2008 EC Publications.)

¡VIVA EL PELO!

I don't know how to translate the title of the above painting by Julio Romero de Torres — every possible rendition of ¡Viva el Pelo! into English sounds silly — but el pelo
means the hair, so you get the idea.  The image reminds me of a line by the poet Robert
Duncan, “in the dark of the moon the hair rules”.  This in turn
reminds me of something the poet Robert Browning said about his wife
Elizabeth Barrett Browning after her death, when he was asked what it
was like being married to such a famous person (she was far more famous
than he was during her lifetime.)  Yes, she was known to the
world, Browning admitted, “but I knew her on the dark side of the moon” —
the side of the moon the world never sees . . . where the hair rules.