#lejaren hiller

[mote-historie]

Lejaren Hiller, Iconic Pulp Cover: Absinthe, for Flynn's Weekly Detective Fiction Magazine, 1928.

About

On offer is a remarkable published pulp cover painting by Lejaren Hiller (American, 1880-1969), titled Absinthe, for Flynn's Weekly Detective Fiction Magazine - April 21, 1928. Between 1924 and 1939, the artist created hundreds of covers for this long running title, and this is among the most captivating. The image showcases an up-to-the-minute smoking flapper girl feeling strangely fine as the hallucinogenic effects of the bottle of absinthe she has just consumed wash over her body, soul and mind. To further the hedonistic mood, smoke plumes seductively drift off into the cafe where she is seated. The setting evokes the fast-living expatriate Americans who took to Paris after World War I, escaping prohibition and their own demons. We found an interesting visual from the Elspeth Brown book The Corporate Eye, which examines photography as a mass media technology and its influence on the progressive age in American culture. It shows Lejaren Hiller's proof photograph of the model as used to create this now iconic pulp cover. That image is seen below. It is possible that a copy of this photograph was mounted to the illustration board as a guide to Hiller's painting, as he often explored such mixed media methods in his work. Painting is French matted and housed in an antique period fine frame under glass. (x)

[ozkar-krapo]

V/A [Lejaren HILLER / Rolv YTTREHUS / David MASLANKA]

"A Porfolio for diverse Performers and Tape // Quintet / Three Pieces for Clarinet and Piano"

(LP. Composers Recordings Inc. 1980 / rec. 1978-79) [US]

[seemoreandmore]

Unidentified woman, c1920 (Lejaren à Hiller)

[dreaminginthedeepsouth]

Lejaren a Hiller — Life magazine — October 1914

(via The Pictorial Arts: Illustration and Photography)

* * * *

"Every phenomenon arises from a field of energies: every thought, every feeling, every movement of the body is the manifestation of a specific energy, and in the lopsided human being one energy is constantly swelling up to swamp the other. This endless pitching and tossing between mind, feeling, and body produces a fluctuating series of impulses, each of which deceptively asserts itself as “me”: as one desire replaces another, there can be no continuity of intention, no true wish, only the chaotic pattern of contradiction in which we all live, in which the ego has the illusion of will power and independence.

Gurdjieff calls this “the terror of the situation". His purpose is not to reassure; he is concerned only with an impartial expression of the truth. If we have the courage to listen, he introduces us to a science which is very far from the science we know."

~ Peter Brook, in Parabola, Summer 1996 [Ian Sanders]

[the1920sinpictures]

1928 "Absinthe" by Lejaren Hiller, art for the cover of the magazine "Flynn's Weekly Detective Fiction". From Art Deco, FB.

[mermaidenmystic]

1920 photo by Lejaren à Hiller (American, 1880-1969)

[thomasmartinnutt]

John Cage. Busoni Chart for HPSCHD (with Lejaren Hiller), 1969

[femmes-et-art]

Lejaren A. Hiller (1924-1994)

[jhavelikes]

Thinking Machines: Art and Design in the Computer Age, 1959–1989 brings artworks produced using computers and computational thinking together with notable examples of computer and component design. The exhibition reveals how artists, architects, and designers operating at the vanguard of art and technology deployed computing as a means to reconsider artistic production. The artists featured in Thinking Machines exploited the potential of emerging technologies by inventing systems wholesale or by partnering with institutions and corporations that provided access to cutting-edge machines. They channeled the promise of computing into kinetic sculpture, plotter drawing, computer animation, and video installation. Photographers and architects likewise recognized these technologies' capacity to reconfigure human communities and the built environment. Thinking Machines includes works by John Cage and Lejaren Hiller, Waldemar Cordeiro, Charles Csuri, Richard Hamilton, Alison Knowles, Beryl Korot, Vera Molnár, Cedric Price, and Stan VanDerBeek, alongside computers designed by Tamiko Thiel and others at Thinking Machines Corporation, IBM, Olivetti, and Apple Computer.

Thinking Machines: Art and Design in the Computer Age, 1959–1989 | MoMA

[mariaangels]

Lejaren á Hiller

[deepinsightphotography]

Lejaren à Hiller. Double exposure 1930

[caardamoom]

Listening Instructions From John Cage and Lejaren Hiller’s “For Harpsicords & Computer Generated Sound Tapes”.

[jacobwren]

Lejaren Hiller, "Avalanche, Nightmare Music, Suite for Two Pianos, Computer Music for Tape" [CP-186]

[pulpsandcomics2]

“Detective Fiction Weekly”  v63 #1, November 7, 1931 cover by Lejaren Hiller

The Crimson Mask by Erle Stanley Gardner  

Death in the Moonlight by Ray Cummings

Loot Hungry by Edward Parrish Ware

Spike Keeps a Job by Stanley Day

Cheap at the Price by Ruth and Alexander Wilson 

[seattlemysterybooks]

philsp

January 19, 1935 issue

cover art by Lejaren Hiller

Eugene Thomas, “The Lady from Hell” (Vivian Legrand/The Lady from Hell), not the same as the story of the same name in the May 2, 1936 issue   

Anthony Rud, “Riddle of the Severed Finger" (Jigger Masters)    

H. H. Matteson, “Hoh-Hoh, The Conju Man” (Hoh-Hoh Stevens)  

Eugene P. Lyle, Jr., “The Girdle of Serpents"

Howard McLellan: Getaway Molls ·  

Paul Berdanier ~ Illustrated Crimes: The Murder on the Padanaram Bridge  

Fred MacIsaac, “The Man with the Club Foot” (Part 3 of 5) 

Edward Parrish Ware, “Killers in the Cane” (Ranger Jack Calhoun)    

Justin Pate, “Timed to Die"   

Seattle Mystery Bookshop

[mayolfederico]

John Cage ~ «Per gli uccelli». Quinta conversazione

John Cage ~ «Per gli uccelli». Quinta conversazione

John Cage, Whitout Horizon, N° 3, 1992   Quel che mi auguro è la possibilità di vedere accadere qualsiasi cosa. Non importa cosa, vale a dire tutto, e non tale o tal altra cosa in particolare. Il problema è: qualcosa sorge. Ma la legge che dovrebbe reggere questo qualcosa non è ancora qui. Ora, se ci fosse una tendenza secondo cui quella tale cosa in particolare deve apparire piuttosto che tal…