Bøger udgivet af Fulgur Limited

Sultry and gothic, Slinger's legendary 1970s photomontage project returns to print with new photos and text from the artistPenny Slinger is a Los Angeles-based artist whose work investigates the feminine, the magical and the erotic. While studying at Chelsea College of Art in the late 1960s, Slinger encountered Max Ernst's Une semaine de bonté (1934), initiating an enduring involvement with both the Surrealist movement and the medium of collage. In her first publication, 50% The Visible Woman (1971), Slinger explored the image of woman through a series of often provocative photomontage self-portraits and poetic texts. Such themes resonated keenly with the emerging feminist movement, and in 1973 Rolling Stone noted: "this book will become as important on your bookshelf as Sgt. Pepper's is on your record rack."With An Exorcism: A Photo Romance, Slinger explores the feminine psyche further. Developed from a visit to Lilford Hall in 1970 with her then-partner, the filmmaker Peter Whitehead, Slinger provides us with a series of haunting images that chart a process of self-discovery and awakening that was described by Sheldon Williams as "a cascade of photo-collage imagery which has all the emergent trepidation of Hesse's Steppenwolf." First published in 1977 with a grant from Roland Penrose's Elephant Foundation, the original edition has been long out of print. This new edition from Fulgur Press has been expanded with new images from the original series held in the artist's archive and offers a previously unpublished narrative by Slinger that speaks to the personal and eternal themes of the book.Penny Slinger (born 1947) works in a variety of mediums but is best known for her surrealist collage work exploring the nature of the female psyche. She has published three books of photo collage: 50% The Visible Woman, An Exorcism and Mountain Ecstasy. Her work is in many international museum collections, including Tate Britain.

"Looking at your pictures is like looking through butterfly wings." -Jimi HendrixBetween 1968 and 1971, in a loft on New York's Jefferson Street, the poet, photographer and filmmaker Ira Cohen created some of the most mythic images of the late 1960s. Inspired by his friends Jack Smith and Bill Devore, Cohen's initial experiments with black light developed into an experimental ritual space he termed the Mylar Chamber--a simple room of hinged boards hung with reflective Mylar film. Through his extended network, and with the support of artist and set designer Robert LaVigne, Cohen invited visitors to play another self within this small theater, among them Jimi Hendrix, William Burroughs, Vali Myers, Jack Smith, Angus MacLise, Alejandro Jodorowsky, Lionel Ziprin, Ching Ho Cheng, Petra Vogt, Charles Ludlam, John McLaughlin and the rock group Spirit. In December 1969, in a summary of the past decade, Life magazine declared that "few came as close to explaining the euphoric distortions of hallucinogenics" as Cohen through his Mylar Chamber photographs, but the full story draws upon much deeper ideas surrounding identity and the power of the image. This is the first book to explore Cohen's iconic Mylar Chamber photographs. Published on the 50th anniversary of the Life magazine feature, and with several gatefolds, it includes more than 70 images from this intensely creative period, each digitally restored from the original negatives by Cohen's friend and collaborator, Ira Landgarten. It also includes an interview with Cohen, excerpts from his poetry, critical writing from Allan Graubard and Ian MacFadyen and further reflections from Timothy Baum, Alice Farley and Thurston Moore. Ira Cohen was born in the Bronx in 1935. A countercultural renaissance man, Cohen made films, photographs and poetry, edited the magazine Gnaoua and authored The Hashish Cookbook. Cohen became well known for his 1968 movie using the Mylar technique, The Invasion of Thunderbolt Pagoda, soundtracked by Angus MacLise, the original drummer of the Velvet Underground. In 2008 Nina Zivancevic, writing in NY Arts magazine, described Cohen's life as "a sort of white magic produced by an alchemist who turned his back on the establishment in order to find God, art and poetry." He died in 2011.

This peer-reviewed series seeks to examine ways in which the occult and the esoteric have been at the heart of art practice, both today and throughout the modernist period.

In 2014, the Nora Eccles Harrison Museum at Utah State University staged the first exhibition to explore artistic responses to the confluence of enchanted thought and the American West. Building on this precedent, Enchanted Modernities: Theosophy, the Arts and the American West is the first publication devoted to studying these relationships in art and music.

The essays in this volume have been selected from papers presented at a major international conference at the University of Cambridge in 2014 and attest to the vibrant role that magic and the occult play in cutting-edge research across a wide variety of the arts and humanities today.

In A Book of Staves, New York-based artist Jesse Bransford (born 1972) offers a series of delicate drawings that find inspiration in the wild landscapes, folk magic and medieval poetic texts of Iceland. Here, we find the old spoken spells of the Hávamál rendered as image, the traditional "staves" of low Icelandic magic. Titles such as Make an Enemy Fear You and To Trap Shape-Shifted Witches speak of a culture where danger and the unknown were close at hand. Born from a major collaborative project in 2014, many of these spells were conceived and developed during Bransford's visits to Iceland. As visual expressions of the Poetic Edda and runic lore, these images represent an original contemporary interpretation of the traditional Icelandic magical heritage. Bransford's work is punctuated with excerpts from Carolyne Larrington's lauded translation of the Hávamál, prefaced with a statement from the artist and augmented with an introduction from Robert J. Wallis. The texts are offered in both English and Icelandic.

Translation of: Noli me tangere: Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, 1057.