Melton Prior Institute

Tag: emblematics

  • The Illuminated Myth of Mzona by Richard of Kédange (1802-1879). Part IV

    Primal Catholicism / Marian Magic / Evadah / A throw of the dice Primal Catholicism As a graphic practitioner, Richard was a farmer and gardener through and through, one who furrowed lines with sigil-magical ploughs into which he spread evocative seeds, only to have them emerge in the end into a colourful talismanic sea of […]

  • The Illuminated Myth of Mzona by Richard of Kédange (1802-1879). Part III

    Heavenly Zo / INRI becomes ISO / Swabian and Lorraine Somnambulism Heavenly Zo Richard’s emblematic sexual symbolism originated in the theurgic Neoplatonic geometry of Alexandrian late antiquity and had found its way from there into Jewish mysticism and Hermeticism. The most famous example was the Seal of Solomon, the hexagram, which consisted in the interpenetration […]

  • The Illuminated Myth of Mzona by Richard of Kédange (1802-1879). Part II

    The Ichts / The Sator Arepo mechanism / Two Evas The Ichts When looking through these magic books, one is quickly confronted with the question of whether there was a system here that was comprehensible and decipherable, at least in parts, or whether it was an entirely idiosyncratic construct, a blooming nonsense, a crazy simulation […]

  • The Illuminated Myth of Mzona by Richard of Kédange (1802-1879). Part I

    From Alsace to Lorraine / The research / The book In 2010, three graphic grimoires from rural Lorraine popped up at a Strasbourg bookseller’s, whose peculiarity and intensity were astounding. A Richard from Kédange, today Kédange-sur-Canner, a town not far from the border with Saarland and about 30 km north of the capital of Lorraine, […]

  • Visual notes. A selection.

    Alex Bodea´s “Visual notes” is an ongoing series of poetically condensed observations in the urban sphere combining image and text. The visual notes archive was started in 2012, comprising more than 2000 entries. Technique: ink on paper, 5,7 x 10,7cm.

  • ROSTA / GPP : Pictorial Newsposter-Series of the Russian Avantgarde III , Moscow, 1921

    The campaign at ROSTA ended at the beginning of 1921 with the departure of the director of the news agency Platon Kerzhentsev. Afterwards, it was continued for one more year with a stricter conception in didactical terms under the patronage of Glavpolitprosvet (GPP), a newly founded educational institution of the Ministry of Cultural Affairs. The […]

  • ROSTA / GPP : Pictorial Newsposter-Series of the Russian Avantgarde I , Moscow, 1920 / 1921

    In February 1919, caricaturist Mikhail Cheremnykh started an artistic campaign in an empty shop window with a visually designed report of the Bolshevist news agency ROSTA. Shortely thereafter the initiative was taken up by the popular poet Vladimir Mayakovsky. He selected most of the news items and prepared them for pictorial realisation. “The field of […]

  • TALKING PICTURE BLUES (including an interview with Andreas Siekmann)

    An exhibition from the Melton Prior Institute for Reportage Drawing and Printing Culture in Düsseldorf, organized by Clemens Krümmel for Kunstsaele Berlin, Bülowstraße 90, D-10783 Berlin, November 1, 2013 – January 11, 2014 Included is an interview with Andreas Siekmann on his picture cycle  “Die Exklusive. Zur Politik des ausgeschlossenen Vierten” (A film by Clemens […]

  • Thomas Nast & Theodor Kaufmann: Higher Forms of Hieroglyph

    I Thomas Nast The pictorial journalism of Thomas Nast marked the peak of graphic art as far as its  influence and popularity in the 19th century is concerned. No artist was ever more successful in regard to the intensity, scope and lastingness of his political impact than this North American draughtsman – not Dürer, not […]

  • Infinite Spaces. On William James Linton´s Vignette Art

    Lintoniana VIII Infinite Spaces. On William James Linton’s Vignette Art “With the separation of draftsman and engraver began the decline of engraving as an art (…) began a system of special employment; and having to depend on draftsmen, engravers ceased to draw, ceased to rely on themselves. Wanting the wider power, the enevitable course was […]

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