Cowboy Junkie Scum

Art/Words By Liam Beale

[nobrashfestivity]

Tadanori Yokoo,  drawings for Genka (“Illusory Flowers”), by Harumi Setouchi, 1974    

more

[adarchives]

Pete Tong in Muzik 042 November 1998

[nobrashfestivity]

Unknown, illustrations from the late 1800s of Japanese fireworks bursting into life. Taken from catalogues published by the British company CR Brock and Co

Photograph: courtesy of Yokohama City Central library

Via The Guardian

[kafkasapartment]

[LONDON TRANSPORT] - KEEPS LONDON GOING, 1938. MAN RAY. Waterlow & Sons Limited, London.

[clawmarks]

Dancing mice. Illustration by Gerhard Heilmann in Dekorative Vorbilder - v.12 - 1900-1901 - via Hathi Trust

[michaelmoonsbookshop]

art nouveau patterned end paper 

Gresham Poetry c1905

[xdivinechaosartx]

Love this. 

[cowboyjunkiescum]

[cowboyjunkiescum]

Selected Prints 

[cowboyjunkiescum]

[cowboyjunkiescum]

[cowboyjunkiescum]

[shihlun]

Jakob Mohr

- Beweisse [Proofs],

ca. 1910.

Courtesy Prinzhorn Collection, University of Heidelberg.

The psychiatrist Hans Prinzhorn began collecting for his famous Museum of Pathological Art the same year that Tausk published his essay (within a year Prinzhorn had acquired 4,500 works, which are currently housed in the Psychiatric University Hospital in Heidelberg, Germany). One of these images illustrates an Influencing Machine in strikingly graphic form. The artist was Jakob Mohr, a farmer and hawker suffering from paranoid schizophrenia, and his picture shows someone holding a small box which resembles an old-fashioned camera and transmits something like static at its victim. The structural workings of the contraption are explained in a palimpsest of scribbled notes, which Prinzhorn called “word salad.” The operator, who is thought to be the psychiatrist (he wears headphones so that he can listen in on Mohr’s thoughts), aims a radiation tube at his subject that emits “electric waves” and renders him a “hypnotic slave.” The machine’s energy flows two ways—it is a magnet as well as a gun: “Waves are pulled out of me,” Mohr scrawled, “through the positive electrical fluorescent attraction of the organic positive pole as the remote hypnotizer through the earth.” The appliance’s malevolent power over Mohr is illustrated by a series of childishly drawn arrows and wavy tentacles which unite both men in a painful-looking spasm of electricity.

(From The Influencing Machine by Christopher Turner, Cabinet Magazine, 2004 issue 14).

[cowboyjunkiescum]

Warehouse Party, 2017

[cowboyjunkiescum]

[cowboyjunkiescum]

[cowboyjunkiescum]

[cowboyjunkiescum]