“(Mark E.) Smith’s vocal sounds so appalling, so in-your-face, spittle-soaked disgusting, it feels like the equivalent of rescuing some old foaming at the mouth psycho from the gutter only to have him assault you for your trouble….the atmosphere is underwrought, miserable, monochrome.”
From David Keenan’s review of the The Fall’s Sub-Lingual Tablet (Wire magazine, June 2015)
Drawing by James Rowley, 2008
Cover of the rare UK hardcover edition of Gerald Walker’s novel Cruising (W.H. Allen, 1971)
“The prevailing wisdom among today’s planners is that it is important to honor the land’s contours, which only goes to show how visionary the city fathers were: they created a New York as eccentrically “intentional” as St. Petersburg, a madly rational scheme imposed on nature. Nor did they have any use for the circles, ovals, and other geometric interventions so loved by Europeans. The commissioners loved the ninety-degree angle, the forthright, egalitarian plod of rectangle after rectangle, extended indefinitely: they would have gridded the sea and stars if given the chance.
One reason the city fathers liked the grid was that it facilitated the orderly sale and development of property. While one hears the Manhattan grid disparaged today as merely a capitalist device for real-estate speculation, to me it is a mighty form, existential metaphor, generator of modernity, Procrustean bed, call it what you will, a thing impossible to overpraise. The architect Rem Koolhaas called it “the most courageous act of prediction in Western Civilization.” It inspired Mondrian, Sol Lewitt, Agnes Martin, and that’s good enough for me.”
Phillip Lopate in Waterfront: A Journey Around Manhattan (2004)
By Avantika Bawa, 937 Condominiums, 2015
approaching orange (through time). A collaborative work by Aschwin de Wolf and Avantika Bawa.
This series of multiples is an exploration of the possibilities of orange paint on canvas. By retaining a fixed scale, surface, and color, the work explores the visual and tactile qualities of different artist materials. These materials were carefully chosen to reveal the history of artist pigments and mediums.
In Belgium, Lucio Fulci’s New York Ripper was released as “De Doder van New York” as evidenced by the cover of the VHS tape below (a promotional poster also exists). Multiple sources state that the movie was released in the Netherlands as “De Slachter van New York” but so far I have not seen any evidence of this online; no videocassette covers, no poster or other promotional materials, and a web search produces only a handful of items that do not reveal any more information.
This short review (or more aptly, a description) of the New York Ripper in the Dutch newspaper Leidsch Dagblad of December 16, 1983 does use the name “De Slachter van New York” but whether the author refers to the title of the Dutch release is ambiguous.
Further complicating matters is this rare, poorly designed, bilingual, poster from Belgium that features “De Ripper of New York” as the title.