Omnium Gatherum: January 28, 2019

An irregular hodgepodge of links gathered together … Omnium Gatherum for January 28, 2019

If you’d like to participate, head over to Omnium Gatherum on the BBS, or suggest something.

  • Hustle Witch by nihilocrat

    nihilocrat Hustle Witch

    “Witching doesn’t make money like it used to, so you’ve got a side-hustle delivering packages.”

  • Tweet by nerd garbage pitches

  • Tiddle toddle! Moon and Me joins CBeebies Bedtime” — AK, BBC [HT Livia Filotico]

    BBC Moon and Me

    “Moon and Me is a classic series of gentle and emotive tales about a magical toy, Pepi Nana, who lives in a Toy House with a “family” of comical toy friends. Together they welcome a special visitor from the Moon, Moon Baby, who opens a magical way into Storyland, where they share the wonderful stories waiting for them.”

  • Tweets about She-Ra and the Princesses of Power [also]

  • Horror and Hilarity: The Legacy of The Grand-Guignol with instructor Richard J. Hand, Thursday, 7 February 2019, 7pm—10pm, at Horse Hospital, London

    Horse Hospital Miskatonic Horror Hand The Grand Guignol

    “In this talk, the academic and theatre director Richard Hand will take you on an intimate journey into a night at the Grand-Guignol, recounting the shocking stories, vivid personalities and ingenious tricks of the original theatre before exploring the theatre’s profound legacy and abiding influence over subsequent horror culture.”

  • Edward Gorey, the Father of Children’s Goth. He was a writer-artist ahead of his time, but Tim Burton, Lemony Snicket, and American culture have finally caught up.” — James Parker, The Atlantic; about Born to Be Posthumous: The Eccentric Life and Mysterious Genius of Edward Gorey by Mark Dery

    Dery Born To Be Posthumous

    “Gorey ended his days in his house on Cape Cod, contented after his fashion—that is, gently and wittily moaning. He lived alone: silver-bearded, buried under cats, with his books in heaps and his mini-hoards—of tassels, rusty cheese graters, antique potato mashers—around him.”

  • How to Be Bad. What a collection of rape jokes tells us about offensive art in the age of outrage.” — Laura Miller, Slate; about You Had To Be There: Rape Jokes by Vanessa Place, afterword by Natasha Stagg, foreword by Dave Hickey.

    Place You Had To Be There

    “‘For many years, I have made it a practice never to explain or apologize for my art’

    The belief that art ought to be transgressive, that one of its roles is to desacralize whatever the “average” person reveres, has much earlier roots than the 1990s, of course. ‘Épater la bourgeoisie’ was the motto of the French decadent poets more than a hundred years ago. Middle-class culture and society were so banal and repressive, the thinking went, that the only pathway to creative greatness and freedom lay in deliberately outraging them. This was an ethos carried forward by movements like Surrealism and Dada, which Place sometimes cites.

    What is transgression if not the violation of ‘decency,’ the fearless unveiling and celebration of what is “patently offensive to the average person”—in other words, to the good ol’ bourgeoisie, who for generations could reliably be shocked by displays of sexuality, irreligion, and disobedient, messy womanhood? Sometimes the pleasure artists and their audiences take in transgressive works is sheer naughtiness, as the career of film director John Waters gleefully demonstrates. But more often than not, art that courts offense claims to be presenting a truth about human beings, their bodies, and the world that polite society prefers to deny. How urgently that truth needs to be told may vary with the historical moment, but the outsiders’ creed that art must speak the unspeakable truth runs deep in contemporary culture.

    I didn’t, it’s true, find the jokes Place has collected upsetting, but I did find them depressing. That’s because most of them depend, for their effect, entirely on the belief that their subject matter is forbidden. That is, rather like Place’s work itself, they lean too hard on transgression in the absence of any other apparent skill or insight.”

  • Tweet by Taylor Lorenz

  • Thelema for the People by Dionysius Rogers; trailer for an upcoming book Thelema for the People: Exploring New Æon Gnosticism by Hermetic Library Fellow T Polyphilus, due in February

    “Book trailer introducing Thelema for the People. The ambition of the book’s talks, papers, and prayers is to supply a hearty breakfast of Scientific Religion to those who have drunk and danced all night with Doubt, so that they may have the energy and endurance to do so again.”

  • Pamela Colman Smith: Life and Work, Pratt Institute Libraries, Brooklyn Campus, January 31–April 4, 2019, open during Library hours; Opening reception and tarot reading on January 31, 5pm–8pm

    “Pamela Colman Smith, renowned for illustrating the Rider-Waite-Smith tarot deck, began her artistic career in 1893 as a student at the newly founded Pratt Institute. Her artistic output in her brief but successful career included paintings, illustrations, set and costume design for theater, a literary magazine, and books of folklore. Smith moved in bohemian circles both in New York and London, exhibiting at Alfred Stieglitz’s Gallery 291, the first non-photographer to do so, and collaborating with W.B. Yeats, Bram Stoker, and the celebrated actress Ellen Terry.

    This exhibition presents an overview of Smith’s life and multi-faceted career, showing books, prints, reproductions of illustrations and paintings, and tarot decks, along with photographs of her illustrious family and friends. Telling her story and providing a context for her work, this exhibit shows how her style, archetypal subject matter, and interest in ancient spiritual traditions profoundly influenced her drawings for one of the most popular tarot decks in use, the Rider-Waite-Smith tarot.

    Linking Smith’s time to now, Pratt alumni Emi Brady, David Palladini, Jen May and Phil Williamston, will have tarot decks on display to showcase contemporary variations on the traditional deck.

    This exhibition is co-curated by Pratt alumni Colleen Lynch and Melissa Staiger.”