Archive for the 'Aesthetic Terrorism' Category
Plasmatics Live on SCTV – Oct ‘81
(h/t Les)
I remember seeing this live on TV when I was 13 in a motel room in Carmel, CA, and being completely blown away by it. Probably my first glimpse into the extremes of what could be done on a stage while piquing my growing attraction to a darker aesthetic. And that, back then, it was even allowed to air on American television. A oddly awakening moment in my life, and my introduction to one of the most memorable performers in rock history: Wendy O. Williams.
4 commentsHaxan – Desiderii Marginis – Beyond Retrieval
An evocative take on an old favorite. If you’ve yet to see Haxan, you should really pick up a copy of this classic.
2 commentsUA Variety Hour – Kasner on Objectivity and Art
Dark artist Stephen Kasner talks about art and objective measures of talent with host Kevin I. Slaughter. Interviewed by phone shortly before the opening of the Germophilia gallery show, curated by the host and residing in the Jennifer Bates Memorial Gallery in Philadelphia, PA. Stephen was one of the nine artists featured in the show. Germophilia was open from 8-7-09 until 9-20-09.
Diabolus Rex: New Art, New Focus
from the Infernal Pen of Diabolus Rex Church:
3 commentsAs of 2009 I have laid down my airbrushes indefinitely. Those who have followed my work over the years are aware of the mediums that have served me, steel being of primary importance.
I am entering the next stage of my work as an artist and am dedicating myself to the discipline of metal sculpture exclusively, to include cutting, welding, forming, etching, casting, and machining. I feel strongly that I have done as much as I will with the airbrush without repeating myself, or worse yet, becoming part of a common design style worthy of nothing but derision. I have completed only a few paintings since 1996 having dedicated the majority of my studio time to the development of designs for my Ragnaroc Engine.
Several projects within my airbrush design spectrum remain unfinished but not without legitimate reason. My “Diabolus Rex’s Tarot of Satan”, a massive work I began as a series of drawings in 1978 will not see completion particularly because of the distribution of the “Tarot of the Underworld” by HR Giger and Arkon. This work which designates itself as a dark side tarot was nevertheless composed by and conceptualized by Swiss hippies and OTO members who have no connection to Satanism whatsoever. As a white light tarot would not have sold as well as one courting the Left hand Path, it still is a manifestation of playing the Devil’s game without taking the Devil’s name. Those who engage in such activities need be wary of the unpleasant consequences of such actions. Point being, my work which already draws comparisons to Giger need not become a cliche for biomechanics given the fact that I have design ideas and project conceptualizations which go far beyond anything in the current dark art genre regardless of the artists in question.
In the mid 90’s when tattooing was at its zenith the industry went crazy for anything “biomechanic” and every hipster who picked up an a tattoo gun or airbrush obsessed over imagery of this type which continues to this day, making Giger the most over replicated artist since Salvador Dali, perhaps even more so. This stylistic over-saturation is so prevalent that serious galleries will not even consider displaying art that emulates or bears semblance to techno-organics. If you couple this fact to the common phenomena of applying airbrushed demonic imagery to cars, skateboards, snowboards, motorcycles and other worthless toys of the hipster peasantry, the continued exercise of creation within this style becomes self-defeating.
This is not to say I am completely abandoning my own unique “art necro” approach to design. I have been quietly, and with precise dedication organizing stylistic elements of my earlier sculptural work into a vision I call “Apocalypse Expressionism”. This stylization manifests itself into a profile combining ancient cultural death motif, repeating design themes mimicking technology welded to aspects of “Ruin Value” wasted and exhausted industrial futurism. I have combined these elements to sentics, metanimics, dominant mass principle, Law of the Trapezoid, cursed architecture, and the command to look. It is my intention within the next several weeks to display these elements in my current Opus Diaboli, the 60,000 lb. demon generating forge, the “Ragnaroc Engine”. I have spoken of this project only briefly within my circle of friends, but as this Infernal Machine is ramping up for scrutiny, I will invite interested friends and associates to look at my designs and current face of this work for critical magickal analysis.
Crispin Glover on Art, Herzog, Letterman, Etc.
What’s not to love about Cripsin Glover? Sure, you might be asking yourself, “what kind of friggin’ name is Crispin?”… and you’d be right. But that’s merely the top layer of a very complex and multi-faceted onion. In the above video, he speaks with a seemingly grown-up version of Tom Green, and both have an informed and entertaining conversation. Is this the same Glover who gave us such amazing dance moves in Friday The 13th: The (Not-So-) Final Chapter? Damn straight! And are we ever going to see a DVD release of his “What Is It?” film? I hope it happens before I shuffle off my mortal coil because I’m a mighty impatient man at this point.
Long Live Jimmy The Dead Fuck!
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