Posts Tagged ‘Heinz Edelmann’
June 11, 2012 | by Nicole Rudick
I have always been a poor visualizer. Words, even the pregnant words of poets, do not evoke pictures in my mind. No hypnagogic visions greet me on the verge of sleep. When I recall something, the memory does not present itself to me as a vividly seen event or object. By an effort of the will, I can evoke a not very vivid image of what happened yesterday afternoon, of how the Lungarno used to look before the bridges were destroyed, of the Bayswater Road when the only buses were green and tiny and drawn by aged horses at three and a half miles an hour. But such images have little substance and absolutely no autonomous life of their own. They stand to real, perceived objects in the same relation as Homer’s ghosts stood to the men of flesh and blood, who came to visit them in the shades … This was the world—a poor thing but my own—which I expected to see transformed into something completely unlike itself.
So wrote Aldous Huxley just before an afternoon mescaline trip, his first, in 1954. The psychedelic sixties would take Huxley’s message to heart, opening new doors of perception while under the influence. But for graphic designer Heinz Edelmann, Huxley’s journalistic exploration was mescaline enough. After reading the British novelist’s account, Edelmann thought, “Well, I don’t need mescaline. I can do that stone cold sober.” If you don’t know who Edelmann is, have a look at Yellow Submarine: he created the look of the film and designed all the characters.
November 23, 2010 | by Dan Nadel
This is the second installment of Nadel’s culture diary. Click here to read part 1.
I realize this journal is meant to be cultural, but I swear, a ton of my daily doings are more like the “business” of culture. Or like being the janitor of the business. Or something. That’s what I did for most of the day until I went to Penn Station to pick up Brian and Christopher. A couple sandwiches later, we were en route to a bookstore in Williamsburg, where the guys did a stock signing. This is when authors sign a stack of books so customers will, hopefully, buy them faster.
Then it was dinner with Gary Panter, his wife, Helene Silverman (designer of many of my books), and their daughter, Olive. The two dudes love Gary as a spiritual north star of sorts, and Gary has, after thirty-five years, finally found artistic progeny he can be proud of. It’s a lovefest.
Stray thought: The problem (or, flipped, the pleasure) of being involved with a funky little subculture like comic books is that you have to deal with a level of absurdity so high that it’s like the gods are constantly fucking with you just for kicks. In other words, ninety percent of the “serious” books on the topic have introductions by TV stars or are filled with absurd claims of greatness. Rarely are comics left alone to be a medium unto itself.
I really admire good publicists. This week, oddly, I’m just a pale imitation of one, but it’s hard to both hustle these books and the authors and also, y’know, think about them, too. Or, uh, think about anything else at all.
Morning finds the guys asleep on my living-room floor. They’re both kinda tall, so they take up an absurd amount of space in the room. Over coffee and tea we have a friendly nerdfest in the morning discussing something Dan Clowes recently said to the effect of reconciling himself to the reality of comics history. Which is to say, understanding that there are few thoroughly “great” works or artists to be found, as in film or literature. There aren’t many Jim Thompsons or Philip Dicks to “rediscover” and tout as transcending their genres. Instead, we pick through the bins for a great storytelling device or wonky approach to drawing, or some freakishly good art-text combo by a hack, picking our pleasures and fascinations within a single comic book or even just an eight-page story.