Posts Tagged ‘Turner Prize’

TTA Spacecraft 2000 – 2100: Videos, Spacecraft and Book Cover Art

April 19, 2017

I put up a post at the weekend about a video I’d found on YouTube, in which a fan of Stewart Cowley’s Spacecraft 2000-2100 had made a short CGI film as a tribute. The film was a promotional video for the book’s fictional Terran Trade Authority, the global governmental organisation that had overseen the construction of the spacecraft which had taken humanity to the planets, and from then on to the nearest stars, meeting friendly creatures from Alpha Centauri, and fighting a war against aliens from Proxima Centauri.

The book Spacecraft 2000-2100 was a ‘future history’, of the type that was quite common in SF from the 1950s to the 1970s, when scientists and science fiction writers were confident that it would only be a matter of decades, perhaps only a few years even, before humanity established colonies in space – orbital cities, bases and then colonies on the Moon and Mars. FTL – Faster Than Light travel would be invented, and humanity would go on into the Galaxy ‘to seek out new life forms and new civilisations’, in the words of the Classic Trek.

The spacecraft in the book all came from SF book covers by some of the great space artists of the ’70s – Chris Foss, Angus McKie, Peter Elson, Bob Layzell, Fred Gambino and Jim Burns, around which the author, Stewart Cowley, wove his story of invention and exploration. It’s one of my favourite space books. The spacecraft depicted and their settings had a strange, otherworldly, literally alien beauty, even when the scenes were of industry or simple rocket launches. After I found the first video, I found another. This one is rather more complete. It uses the same computer techniques to recreate the spacecraft, as well as a whole scenes from the book. The spacecraft race across alien landscapes, rise into the air, hover above vast future cities, or prepare to dock with huge space stations.

I also found this video by Scott Manley on YouTube, where he talks about the book. He found it amongst his father’s old things, which rather dates me. Along with some of the other facts he mentions, he talks about the picture of an alien spaceship, which was plagiarised a few years ago by another artist, who entered his version for the Turner Prize. Apparently, the book was also republished in 2005, but was not well-received. The future history had to be rewritten, and some of the pictures were replaced by computer art. There has, however, also been a Role-Playing Game created, which is set in the same universe as the book.

Here’s a few of the book covers, from which the art was taken. Top far left is by Angus McKie; top let is Tony Roberts, bottom left is Bob Layzell, while bottom right is by Peter Elson. Neither of the two bottom images appear in the book. Other pieces by them do appear, and these show Layzell’s and Elson’s style
This and other great pieces of SF art can be found in the book Sci-Fi Art: A Graphic History by Steve Holland (New York: HarperCollins 2009).

Flanders and Swan on Pretencious Smut

June 18, 2016

Okay, I put up a piece a few minutes, which used Tom Lehrer’s satirical song ‘Smut’ to attack the moral panic about pornography on the Net. I share the same fears as the people worried about the exposure of children to porn and other unsuitable material. However, I’m also afraid that these perfectly natural, perfectly decent fears are being used to justify a broader campaign of censoring anything of which the Right disapproves, even if it has little or nothing to do with the sex.

The other side of this issue, is that a lot of intellectual and cultural pseuds have promoted some real rubbish as being high art or great literature, when it’s just basically filth. This pretty much describes, in my opinion, nearly everything ever produced by Damian Hirst and Tracy Emin and many of the rest of the Young British Artists, as promoted by the Turner Prize and Nicholas Serota. The best comment on this came a generation ago with Flanders and Swan and their song, ‘Pee Po Belly Bum Drawers’, commenting on the risqué literature coming out of the pens and typewriters of Norman Mailer, Alan Ginsburg and the Beat poets, and the rest of the artistic avant garde at that time. Here it is:

Vox Political: Grayson Perry Sculpts Bell-End to Represent Bankers

May 21, 2016

Mike also put up another hilarious article on Thursday about a piece of work Grayson Perry produced to represented the financial sector. Perry’s a Turner-prize winning artist, specialising in pottery and ceramics. He found the world of banking and finance to be increasing male the further one went up the hierarchy. To symbolise this, he sculpted a giant phallus, embossed with pound coins, and the heads of bankers, including George Osborne.

See the article at:http://voxpoliticalonline.com/2016/05/19/artist-embosses-sculpture-about-bankers-with-george-osbornes-face-heres-what-it-looks-like/ Warning for those easily shocked: it’s got a picture of the pottery penis in question.

Perry states that it’s not his most subtle work. Possibly not, but it is accurate. There have been a number of scandals about the lack of women in the upper levels of the financial sector, and it is a very, very masculine environment. One report about the imbalance said that not only were there very sexist attitudes towards women – they were divided up into ‘babes’, ‘mums’ and ‘dragons’ – but that the bankers themselves had a very cynical and exploitative attitude to their clients. Indeed, they often boasted about how they had shafted them. This is the world of the Wolf of Wall Street and Gordon Gecko.

And quite often members of the financial sector do describe themselves in phallic terms. One financial whizzkid, whose book was reviewed back in the 1990s by Private Eye, even described himself as ‘a big swinging dick on the stockmarket floor’.

You can also find support for Perry’s ceramic penis from the sociobiological interpretation of mythology. One academic used sociobiology, or as it is now, evolutionary psychology, to explain the phallic shape of ancient Greek herms, or boundary markers. He noticed that troops of baboons similar post guards with erect willies as sentries when out foraging, and males also engage in ‘penis fencing’. He therefore concluded that the shape of the herms was a similar primate display of masculine guardianship over place. You could therefore argue that Perry’s pottery penis is thus an apt sociobiological comment on the extremely culturally phallocentric culture of the financial sector.

Or am I reading too much into this?

As Freud said, ‘Sometimes a cigar is just a cigar.’