The Borley rectory writings on the wall is one of the most interesting manifestation of the famous Borley rectory haunting, which was probably the first case of ghost hunting in history. they believed the writings had come from a young deceased catholic woman who wanted her body to be discovered and receive a proper christian burial ceremony. she was trying to communicate with Marianne, wife of the reverend Lionel Foyster, the couple living in the rectory in October 1930. we can read “ Marianne… please help get” and “ Marianne light mass prayers”. Marianne wrote that she couldn’t understand some of the writings.
I saw some of these self-portraits in a book about the artist more generally, but this was the project I really dug. I wish I knew more about it, though…I didn’t get to really read through the book, and his website is in French, and in Flash, so Google Translate isn’t really doing its job too well. If anyone is able to find an artist’s statement or a press release for this show, I’d love to have a link to it! Thanks!
Detail from the section discussing meter (Book IIII) of Aldus Pius Manutius’ Latin grammar entitled Aldi Manutii pii Romani grammaticarum institutionum libri IIII (Venice: Aldus [Paulus Manutius], 1564). First printed in 1501 (Venice, Aldus), this book saw many editions and continued to be printed into the 17th century.
Janet Malcolm, Three Collage pieces from the “Emily Dickinson Series”, (2013)
The collages that make up Janet Malcolm’s melancholic Emily Dickinson Series, look on first view like leaves from some late Victorian archive, though the field of science or art to which they belong remains unclear. Certain motifs recur: vintage photographs of the 1874 transit of Venus, a rare astronomical event when the planet Venus passes directly between the sun and the earth, resembling a beauty spot traversing the face of the sun; a photograph of a bearded astronomer identified as David Todd (“the depressed astronomer,” as Malcolm came to think of him), who photographed the transit of 1882; gnomic passages by Emily Dickinson in typewritten transcriptions; and, finally, sheets of brownish transparent paper, of the kind once used to protect art books, variously folded and draped like veils across portions of the works.
Malcolm’s collages are parsimonious with color—They also eschew the Surrealist temptation—exploited by Max Ernst and Hannah Höch, and later by the West Coast collagist Jess—to elide disparate images in ways that create the illusion that they are linked in dreamlike ways. They also eschew the Surrealist temptation—exploited by Max Ernst and Hannah Höch, and later by the West Coast collagist Jess—to elide disparate images in ways that create the illusion that they are linked in dreamlike ways. Malcolm prefers an art of juxtaposition, documents and photographs placed side by side as though for inspection.