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Heresies

Heresies: A Feminist Publication on Art and Politics ran independently from 1977 to 1993. Each issue focused on a different topic such as food, theater, or ecology. Between the covers you’ll find photography, film stills, sculptures, paintings, poems, prose, memoirs, collage, and documentations of performance art. Contributors included Harmony Hammond, Ida Applebroog, May Stevens, Mary Beth Edelson, Sally Webster, and Amy Sillman.

Here is the homepage for the 2009 documentary on Heresies called “The Heretics”, directed by Joan Braderman. The site includes an index to the articles.

spines
We have 24 of the 27 issues of Heresies in our back stacks. Come explore them.

Feminism and Ecology

Heresies, Vol. 4, No. 1, Issue 13. 1981.
Cover, Back cover.

Pie Face

Heresies, Vol. 6, No. 1, Issue 21. 1987.

Food is a Feminist Issue

Heresies, Vol. 6, No. 1, Issue 21. 1987.
Cover, Back cover.

The Women's Pages

Heresies, Vol. 4, No. 2, Issue 14. 1982.
Cover, Back cover.

Sex Issue

Heresies, Vol. 3, No. 4, Issue 12. 1981.
Cover, Back cover.

Portrait of an Office

Heresies, Vol. 2, No. 3, Issue 7. Spring 1979.
From the article “Portrait of an Office” by Margaret Willey

Female and Male Body Language

Heresies, Vol. 2, No. 3, Issue 7. Spring 1979.

Heresies

Heresies, Vol. 7, No. 3, Issue 27. 1993.

issue 23s

Heresies, Vol. 6, No. 3, Issue 23. 1988.
“Baby Contest” by Annette Savitski

Women in Theater and Performance

Heresies, Vol. 5, No. 1, Issue 17. 1984.
Feminist Theatrical Performances

Sex Issue

Heresies, Vol. 3, No. 4, Issue 12. 1981.
Jersey Shore Women’s Wrestling Club

Post-Totalitarian Criticism

Heresies, Vol. 7, No. 2, Issue 26. 1992.
Maria Serebriakova, untitled collage, 1989.

Russian Billboard

Heresies, Vol. 7, No. 2, Issue 26. 1992.
Russian Billboard

Kristin Reed

Heresies, Vol. 7, No. 1, Issue 25. 1990.
“Predominant Ideology” by Kristin Reed, 1988. Krylon, xerox, gouache, chalk. 12″x14″.

Heresies, Vol. 1, No. 3, Issue 3. Fall 1977.
Betsy Dam, The 7000 Year Old Woman. Performance #2, a street event, fully clothed. Photo by Su Friedrich.

Food is a Feminist Issue

Heresies, Vol. 6, No. 1, Issue 21. 1987.

Judith Ren-Lay as "Ivy Mouse"

Heresies, Vol. 5, No. 1, Issue 17. 1984.
Judith Ren-Lay as “Ivy Mouse”

Heresies

Heresies, Vol. 2, No. 3, Issue 17. Spring 1979.

Carol Harmel.

Heresies, Vol. 3, No. 4, Issue 12. 1981.
Photo by Carol Harmel.

Heresies

Heresies, Vol. 1, No. 3, Issue 3. 1977.

Sandra Desando

Heresies, Vol. 1, No. 3, Issue 3. Fall 1977.
Sandra Desando

"No Longer Afraid" by Susan Spencer Cole

Heresies, Vol. 6, No. 3, Issue 23. Fall 1988.
“No Longer Afraid” by Susan Spencer Cole

Installation and Set for "Private Places" by Vernita Nemec

Heresies, Vol. 6, No. 3, Issue 23. Fall 1988.
Installation and Set for “Private Places” by Vernita Nemec

"T.V." by marina Gutierrez

Heresies, Vol. 5, No. 1, Issue 17. 1984.
“T.V.” by Marina Gutierrez, 1979, Monoprint/Color Etching

"The Rat Patrol" by Christy Rupp

Heresies, Vol. 4, No. 1, Issue 13. 1981.
“The Rat Patrol” by Christy Rupp, 1979

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Magazine Covers – 1970-1979 (Part 3 – Art) +++

+++ See Pictures +++

Please enjoy this sopping sampling of sweet and sour color from 1970’s art magazines.

Art News was founded in 1902 and is the most widely circulated art magazine in the world.

ArtNews. April 1972.

ArtNews. April 1972.
“Sweet and Sour” by Ed Ruscha.
(Strawberries, peppers, olives, peaches, anchovies, pickles, washes of jam juice.)

Art International was based in Switzerland and ran from 1956-1984.

Art International, Volume XXI. March 1978.

Art International, Volume XXI. March 1978.
Art by Pierre Alechinsky.

Novum Gebrauchsgraphik, now called Novum, is an international graphic design magazine based in Germany.

Novum Gebrauchs Graphic. February 1977.

Novum Gebrauchs Graphic. February 1977.
African Hairdresser’s Sign (Unknown Artist).

Art International, Volum XXII. February 1978.

Art International, Volume XXII. February 1978.
Art by Richard P. Lohse.

Art International, Volume XX/3-4. March/April 1976.

Art International, Volume XX/3-4. March/April 1976.
Art by Alun Leach-Jones.

Avante Garde had a short run of only 14 issues between 1968 to 1971.

Avante Garde. January 1970.

Avante Garde. January 1970.
Art by Thomas Weiil

Connoisseur is a publication of self-proclaimed high-brow culture and art:

Connoisseur. April 1976.

Connoisseur. April 1976.

ArtForum is a contemporary art magazine.

ArtForum. 1971.

ArtForum. 1971.
Still from “Tom, Tom, the Piper’s Son” (1969).

Cinefantastique

From the official Cinefantastique website:

“During a decade when many mainstream critics were dismissing THE EXORICST as sadistic pornography, and when Forest J Ackerman was filling Famous Monsters with puny puns (e.g., “A Clockwork Lemon,” referring to a malfunctioning robot in FUTURE WORLD), publisher-editor Frederick S. Clarke created a little magazine with a big ambition: to cover the genre better than anybody, and to do it with all the seriousness of Cashier du Cinema, American Film, or Film Comment.”

spineFor anyone fascinated by sci-fi, fantasty, or horror films riding on big dreams and a tiny budget, Cinefantastique is a goldmine. The writers do not simply dismiss their subjects as many critics are apt to do with genre films, nor do they shower their subjects with praise as in a fanzine. Cinefantastique was composed with both the genuine passion of a devoted fan and the thoughtful insight of a critic, resulting in an engaging editorial. Interviews, critiques, and in-depth explorations of special effects and prosthesis are complimented by film stills and behind-the-scenes shots on every page. There are also fantastic full-color spreads throughout, framed by well-designed layouts and text. Feature articles are prodigiously in-depth and as such have left behind invaluable sources for research and admiration relating to dozens of seminal genre films.  There are very few advertisements and most are beautifully painted film posters regardless, making the magazine all the more enjoyable to read.

In 2000, Frederick Clarke, publisher since 1970, committed suicide. Mindfire Entertainment bought the magazine, renamed it “CFQ” and entirely remodeled its approach and aesthetic in an attempt to meet the demands of today’s consumer. In 2006 the last issue of CFQ was printed, and has been exclusively published online ever since.

In the periodicals section you will find 15 volumes of  Cinefantastique beginning with the 4th volume, published in 1975, up until the final 2006 issue.

Cinefantastique, Volume 20, Number 05. May 1990.
She-Creature by Jackie and Paul Blaisdell

Cinefantastique, Volume 20, Number 05. May 1990.
Blaisdell’s Venusian

Cinefantastique, Volume 20, Number 05. May 1990.

Cinefantastique, Volume 6, Number 01. 1977.
Brian DePalma’s “Carrie”.

Cinefantastqieu, Volume 6, Number 02. 1977.
Stills from stop-motion films by Ray Harry Hausen.

Cinefantastique, Volume 07, Number 03. 1978.

Cinefantastique, Volume 07, Number 03. 1978.
Tom Burman’s Aliens.

Cinefantastique, Volume 08, Number 01. 1978.

Cinefantastique, Volume 09, Number 02. 1979.

Cinefantastique, Volume 10, Number 04. 1979.
Animation in “Superman” and “Xanadu”

Cinefantastique, Volume 11, Number 01. 1981.

Cinefantastique, Volume 11, Number 02. 1981.

Cinefantastique, Volume 11, Number 02. 1981.
“Altered States”

Cinefantastique, Volume 13, Number 01. 1982.
“Creepshow”

Cinefantastique, Volume 13, Number 01. 1982.
Left: Madeline Kahn. Right: Jerry Lee Lewis.

Cinefantastique, Volume 17, Number 01. 1987.
“Necropolis”

Movie: “Reasoned Disagreement About Films in Britian”

Sometimes understatement and subtlety can backfire, especially when it is used for something as permanently identifying as a periodical’s title. Apparently referring to the word ‘film,’  V.F. Perkins wrote in a tribute to Ian Cameron (Cameron was the founder, designer and editor of Movie and Perkins an associate editor) that “the vulgar Americanism of the word gave it shock value and a pronounced identity.” Maybe that was true in 1960’s Oxford, England, but these days it’s just a really generic name that easily gets lost in our vast information shuffle. But it shouldn’t. Movie is a wonderful film magazine that took its cue and influence from the French Cahiers du cinéma.

Left: Back cover of issue 2, Blake Edward’s EXPERIMENT IN TERROR. Right: Front cover if issue 3, Emmanuele Riva in THERESE DESQUEYROUX

For Movie, criticism stems from, and is the logical conclusion of, the fanaticism that the writers and editors share for film. They write about movies and directors that they are really passionate about. They have a pluralistic philosophy when it comes to criticism. Much of the motivation for starting the magazine was the disenchantment they felt for established film criticism, which they felt tried to insinuate that there is one official stance when it comes to films and filmmakers. In the opening editorial of issue #1 (June 1962) they proclaimed “there is no point in replacing one cult with another. Instead we would like films to be the subject of enthusiastic argument in which our approach would only be one of many.” Despite all this, Movie had some very specific ideas about what is good and what is less so, as demonstrated in this histogram (also from issue #1):

As you can see it’s a list of directors, not writers, actors, producers,  or cinematographers. Movie was interested (in the least) with the Auteur Theory of film criticism.  First written about in a 1954 article by Francois Truffaut in Cahiers du cinéma, the Auteur Theory asserts that the director is (or should be) considered the author of a film. There is a nice little history of the theory by Donald E. Staples in Cinema Journal, Vol. 6, (1966 – 1967), pp. 1-7 (which you can access through JSTOR).

 

 

Left: The four stars of “Jumbo” Right: Mylene Demongeot in Michel Deville’s “A cause, a cause d’une femme”

 

You can find Movie in our back periodical stacks (dial M for Movie). Over it’s history the publication frequency was erratic, punctuated by frequent hiatuses, but they persisted for 29 years. We have 28 years: no.1(1962:June)-no.34/35(1990:Winter) (I believe they ceased publication with no.36 in 1991).  If you take some time to read the densely packed, but artfully designed issues, you will find in-depth interviews with a vast array of filmmakers, and gobs of writing on closely analyzed moving images captured on celluloid.  Ian Cameron was a well respected film critic, who apart from having this lovely mag as his periodic child, also wrote many books on film and helped England catch up with the (at the time) more cutting edge France and even the USA. It is a rich addition to our periodical collection. I’ll leave you with a couple more images from the magazine:

Right: Nagisa Oshim’s “The Hanging” Left: Sterling Hayden in Ruy Guerra’s “Sweet Hunters”

 

Film Dope

The Visual Arts Library recently acquired most of the dope:

Film Dope no.7(1975:Apr.)-no.50(1994:Apr.) We are missing the first 6 issues, and I believe no.50 is the last issue (I know it ceased some time in 1994). This is a British publication, the obsessively fussed over, though sometimes neglected love-child of David Badder & Bob Baker (Markku Salmi is credited as a co-editor on issue 7, but not after).

What is the Dope? Each issue of Film Dope provides information on 30 to 40 directors, actors, cinematographers, and writers. An exhaustive list of credits (mostly film and television, but also commercials) is given for each person that they profile. Now, if that is all that Film Dope provided, I would have not felt that it needed to take up precious space on our periodical shelves (even though they are beautifully bound, have great front and back covers, and a goodly number of production stills).

Left: Back cover of issue 8 credited in the following Manner: “A mystery-still. It’s officially described as ‘Pare Lorentz filming THE RIVER’ but from the look of the location, it could as easily be THE PLOW THAT BROKE THE PLAINS. We sent a copy to Floyd Crosby who commented ‘I don’t know what picture this is from. The man on the right could be Lorentz but doesn’t look like him to me. The man with the beret and the Akeley camera is certainly not me.’ Anyone else got an idea? Right: Katherine Hepburn in George Cukor’s LITTLE WOMEN

Right: Jeanne Moreau and Stanley Baker in EVE (1962) Left: Boris Karloff in THE MASK OF FU MANCHU (1932)

Right: Charles Rogers and Jean Arthur in HALF-WAY TO HEAVEN (1929), d. George Abbott. Left: Addison Richards (left), Raymond Massey in SANTA FE TRAIL (1940). Production still by Mac Julian.

If credits were all that Film Dope offered, IMDB and Wikipedia would have rendered this fine publication obsolete. What keeps this publication relevant, endearing, and worth having around are its format, its subjectivity, and its rich collection of primary sources of information.

Issue 7 (April 1975) includes the following entries: Paddy Chayefsky, Nikolai Cherkasov, Maurica Chevalier, Marvin Chomsky, Montgomery Clift, Sean Connery and 33 others. Issue 50 (April 1994) includes the following entries: Al Pacino, Jack Palance, Dorothy Parker, Robert Parrish, Charles Parrott, Christine Pascal. The twenty years between those two issues chronicled people with last names that started with D to O. Sadly, they would never make it to R-Z, but what we are left with is a periodical that over the span of twenty years morphed into an encyclopedia. During that time they went from thanking the British Film Institute staff for “their patience and assistance” to thanking them “for [their] continuing financial assistance.” Obviously they were creating something of apparent value.

David Badder & Bob Baker were two very dedicated, knowledgeable, and intelligent chaps, and it is their input and discretion that gave a value-added aspect beyond free online sources before they even existed. Many of the issues include an editorial (which normally offers some apology for how long its been between issues). But their real editorial influence is both in the amount of time they chose to give to each subject and the very personal opinions that they have of almost everyone chronicled. Normally, out of the 30 or so people featured, a handful have a more extensive narrative biography, along with an interview, reprinted correspondence and/or reflections from peers. These are the primary sources of information I was touting earlier. Some of the interviews, such as with the director Louis Daquin, go on for ten dense pages. Other entries are little more than the credits, but more often than not include some sort of anecdotal information and very personal, though meaningful opinions, such as Bob Baker’s of Julie Christie:

After lauding and defending Julie Christie, the ever honest film critic/hound is forced to admit, “I can’t ever imagine her moving me very deeply. I am at a loss to account for this and hope to be proved wrong very soon.” It’s informative but deeply subjective and gives a contemporaneous context of critical reception and in this case emotional barometer.

The people that made it to these issues, though impressive in scope, are obviously not exhaustive of everyone that worked in the motion pictures in England and the USA up to that point. But the fact that it is limited and now static, lends the publication a curatorial quality. The scope is, however, quite large (say, maybe 1200 people in our 43 issues) and full of variety (from Bob Clampett to Boris Karloff). Film Dope is a marvel and a joy, not to mention a rich, important resource for film research.

The list of credits reads like a companion piece to John Yau’s poem “I Was a Poet in the House of Frankenstein: Boris Karloff Remember Being Chinese on Several Occasions”