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8-8-88 Church of Satan Mansonite Rally (Boyd Rice, 1988)
Aug
8
1988
The marquee of the San Francisco Strand Theater. Mentioned are two films: animation A Bitter Message of Hopeless Grief by Jonathan Reiss (1988), and excellent Mansonsploitation drama The Other Side of Madness aka The Helter Skelter Murders by Frank Howard (1971). Also billed (what a night!) are NON and Secret Chiefs 3.Still (via). DP: ?.
“The entire world is rotten and corrupt… to us they're dead people who refuse to lay down, they're cadavers”
– Boyd Rice speaking to Geraldo Rivera (via)
Please note that the linked article is written by an dimwitted ignoramus completely oblivious of Boyd Rice's, and Anton LaVey's, prankster background.
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Ghosts… of the Civil Dead (John Hillcoat, 1988)
Apr
26
Hug An Australian Day
One of the inmates near a small window. The light's cold. DPs: Paul Goldman & Graeme Wood.
“Officer, come here. I wanna spit in your fucking eye!”
– Maynard
The #industrial soundtrack is by Bad Seed Nick Cave (co-writer and starring as Maynard), Mick Harvey, and Blixa Bargeld from when they were still closer to being birthday boys than morose crooners.
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De werkelijkheid van Karel Appel [The Reality of Karel Appel] (Jan Vrijman, 1962)
Feb
3
American Painters Day
Appel at work. He said about painting “Ik begin vanuit mijn materie, dat is verf.” (“I start from my matter, which is paint.”). DP: Eduard van der Enden.
CoBrA (1948—51) was a Copenhagen / Brussels / Amsterdam art collective whose manifest revolved around the liberation from the rigidity of art and life in drab, post-war Europe. Their spontaneous primal iconography and graffiti allowed them to not only regain the pleasure of painting, but also forge a new connection to colour and material. Especially the Dutch artists involved – Corneille, Appel, Lucebert, Constant – looked at the way children respond to the act of creation resulting in easy to comprehend semi-abstract paintings, sculptures and poems. The moronic “my child can paint that” that people still associate with modernist art can be traced back to (deliberately) misinterpreting these artists' objectives.
“Ik schilder als een barbaar van deze barbaarse tijd.”
– Karel Appel