Errol Morris Makes His Groundbreaking Series, First Person, Free to Watch Online: Binge Watch His Interviews with Geniuses, Eccentrics, Obsessives & Other Unusual Types

Who do we nor­mal­ly see inter­viewed on tele­vi­sion? Actors, pop singers, politi­cians, and oth­er famous fig­ures, many of whom have under­gone rig­or­ous media train­ing, few of whom have espe­cial­ly inter­est­ing per­son­al­ties in the first place, and none of whom could stand up to Errol Mor­ris’ Inter­ro­tron. Essen­tial­ly a teleprompter mod­i­fied to dis­play Mor­ris’ face on its screen, the Inter­ro­tron made a new kind of filmed inter­view pos­si­ble: “For the first time,” Mor­ris has said, “I could be talk­ing to some­one, and they could be talk­ing to me and at the same time look­ing direct­ly into the lens of the cam­era. Now, there was no look­ing off slight­ly to the side. No more faux first per­son. This was the true first per­son.”

Hence First Per­son, the Inter­ro­tron-cen­tered tele­vi­sion series Mor­ris pro­duced and direct­ed in the ear­ly 2000s. By that time Mor­ris had already become well known for his inter­view-based doc­u­men­taries, which went deep into unusu­al sub­jects like the pet ceme­tery busi­ness (Gates of Heav­en), a dubi­ous mur­der tri­al in Texas (The Thin Blue Line), and the mind of Stephen Hawk­ing (A Brief His­to­ry of Time). In 1997’s Fast, Cheap, and Out of Con­trol Mor­ris invit­ed into the Inter­ro­tron a lion tamer, a top­i­ary gar­den­er, a roboti­cist and a hair­less mole-rat expert, weav­ing the four inter­views togeth­er into threads to do with themes of emer­gence and con­trol. But what could tie togeth­er con­ver­sa­tions with a true-crime author, a cry­on­ics pro­mot­er, a lawyer to the mob, and an author­i­ty on giant squids?

Those are just four of First Per­son’s sev­en­teen sub­jects, each of whom has their uncom­mon knowl­edge, dis­tinc­tive abil­i­ty, har­row­ing expe­ri­ence, or dirty job — or some com­bi­na­tion there­of — probed by Mor­ris for an entire episode. Some of them, such as ani­mal-behav­ior expert and autism spokes­woman Tem­ple Grandin, have become much more well-known since appear­ing on the show. Oth­ers have been sen­tenced to serve 15 years in prison. And giv­en the two decades that have passed since the show first aired, some of them have since shuf­fled off this mor­tal coil: Den­nis Fitch, for instance, the pilot who assist­ed in the “impos­si­ble” crash-land­ing of Unit­ed Air­lines Flight 232 after its sud­den and com­plete loss of con­trol — and whose sto­ry is the most grip­ping hour in First Per­son’s entire run.

Mor­ris’ fans will sense in First Per­son themes the direc­tor explored before and has explored fur­ther since. Take the nature of intel­li­gence, at the fore­front of First Per­son’s two episodes on men with some of the high­est IQ-test scores on record. Mor­ris finds Chris Lan­gan think­ing his way toward some­thing called a “Cog­ni­tive-The­o­ret­ic Mod­el of the Uni­verse” and an intel­lec­tu­al priest­hood meant to gov­ern the world to come. Richard Ros­ner, despite his equal­ly for­mi­da­ble brain, divides his time between nude mod­el­ing and obses­sive­ly re-lit­i­gat­ing a failed Who Wants to Be a Mil­lon­aire? appear­ance. (At the time Mor­ris got them into the Inter­ro­tron, both men also worked as bar bounc­ers.) You may well come away from these episodes won­der­ing just what a high IQ gets a per­son. But if you watch the com­plete First Per­son, bro­ken into playlists of its first and sec­ond sea­son, on Errol Mor­ris’ Youtube chan­nel, that will be just one of the fas­ci­nat­ing and trou­bling ques­tions run­ning through your mind for years to come.

Relat­ed Con­tent:

Errol Mor­ris Cap­tures Com­pet­i­tive Eat­ing Cham­pi­on “El Wingador”

Watch A Brief His­to­ry of Time, Errol Mor­ris’ Film About the Life & Work of Stephen Hawk­ing

How Benoit Man­del­brot Dis­cov­ered Frac­tals: A Short Film by Errol Mor­ris

Novem­ber 22, 1963: Watch Errol Mor­ris’ Short Doc­u­men­tary About the Kennedy Assas­si­na­tion

Errol Mor­ris Med­i­tates on the Mean­ing and His­to­ry of Abra­ham Lincoln’s Last Pho­to­graph

Errol Mor­ris and Wern­er Her­zog in Con­ver­sa­tion

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Explore an Interactive, Online Version of the Beautifully Illustrated, 200-Year-Old British & Exotic Mineralogy

What if I said the prob­lem with STEM edu­ca­tion is that it doesn’t include near­ly enough art? For one thing, I would only echo what STEAM pro­po­nents have said for years. This does­n’t only mean that stu­dents should study the arts with the same seri­ous­ness as they do the sci­ences. But that sci­ence should be taught through the arts, as it was in the 19th cen­tu­ry when Nat­u­ral­ists relied on fine art illus­tra­tion.

Maybe increas­ing com­plex­i­ty demands charts and graphs, but there are rea­sons oth­er than hip anti­quar­i­an­ism to cher­ish 19th cen­tu­ry sci­en­tif­ic art, and to aim for some­thing close to its high aes­thet­ic stan­dards. Humans seem to find nature far more awe-inspir­ing when it’s medi­at­ed by paint­ing, poet­ry, nar­ra­tive, music, fine art pho­tog­ra­phy, etc. We want to be emo­tion­al­ly moved by sci­ence. As such, few guides to the nat­ur­al world have ele­vat­ed their sub­jects as high­ly as British & Exot­ic Min­er­al­o­gy, a mul­ti­vol­ume ref­er­ence work for… well, rocks, to put it vul­gar­ly, pub­lished between 1802 and 1817.

Dur­ing these years, “notable nat­u­ral­ist, illus­tra­tor, and min­er­al­o­gist James Sower­by drew intri­cate pic­tures of min­er­als in an effort to illus­trate the topo­graph­ic min­er­al­o­gy of Great Britain and min­er­als not yet known to it,” writes Nicholas Rougeux. “These illus­tra­tions were some of the finest on the sub­ject and are still con­sid­ered by some to be to this day.” Though he was sure­ly com­pen­sat­ed for his work, Sowerby’s detailed draw­ings come across as labors of devo­tion.

Rather than just print­ing them on post­cards or tote bags (though he does sell posters), Rougeux has done for Sowerby’s min­er­als what he had pre­vi­ous­ly done for oth­er clas­sic text­books and tax­onomies from the past, such as the 200-year-old Werner’s Nomen­cla­ture of Colours and Euclid’s Ele­ments from 1847. Dig­i­tiz­ing the 718 illus­tra­tions on one sprawl­ing inter­ac­tive page allows him to retain their edu­ca­tion­al val­ue: click on any indi­vid­ual min­er­al and you’ll bring up an enlarged image fol­lowed by excerpts from the text.

You have nev­er seen such rocks as these, no mat­ter how many uncut gems you’ve held in your hand. Because these illus­tra­tions turn them into some­thing else—crystalline palaces, alien organs, pet­ri­fied explo­sions, moldy loaves of bread… all the many shapes that time can take in rock form. They aren’t all beau­ti­ful rocks, but they are each beau­ti­ful­ly-ren­dered with lines that might remind us of the most skilled com­ic artists, who are per­haps some of the last inher­i­tors of this kind of graph­ic style. Sower­by him­self illus­trat­ed sev­er­al oth­er sci­en­tif­ic works, includ­ing series on biol­o­gy, mycol­o­gy, and a col­or sys­tem of his own devis­ing.

“We feel much plea­sure in pre­sent­ing our friends with a fig­ure and account of the most per­fect and rare spec­i­men yet found of this sub­stance,” begins the text accom­pa­ny­ing Hydrargillite, above, which resem­bles a small, mis­shapen moon or aster­oid. Rougeux also takes quite a bit of plea­sure in his work of recov­er­ing these ref­er­ence books and mak­ing them beau­ti­ful­ly use­ful once again for 21st cen­tu­ry read­ers. You can read his detailed account of the orig­i­nal illus­tra­tions and his adap­ta­tion of them for use on the web here.

While appre­ci­at­ing the fin­er points of col­or, line, and com­po­si­tion in Rougeux’s tapes­try of vin­tage min­er­al illus­tra­tions, you might just inad­ver­tent­ly expand your knowl­edge and appre­ci­a­tion of min­er­al­o­gy. You can also read the entire British & Exot­ic Min­er­al­o­gy, if you’ve got the time and incli­na­tion, at the Inter­net Archive.

via Kot­tke

Relat­ed Con­tent:

The Bio­di­ver­si­ty Her­itage Library Makes 150,000 High-Res Illus­tra­tions of the Nat­ur­al World Free to Down­load

Explore an Inter­ac­tive, Online Ver­sion of Werner’s Nomen­cla­ture of Colours, a 200-Year-Old Guide to the Col­ors of the Nat­ur­al World

A Beau­ti­ful­ly-Designed Edi­tion of Euclid’s Ele­ments from 1847 Gets Dig­i­tized: Explore the New Online, Inter­ac­tive Repro­duc­tion

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

One of the Oldest Buddhist Manuscripts Has Been Digitized & Put Online: Explore the Gandhara Scroll

Bud­dhism goes way back — so far back, in fact, that we’re still exam­in­ing impor­tant evi­dence of just how far back it goes. Take the exhib­it above, which may look like noth­ing more than a col­lec­tion of fad­ed scraps with writ­ing on them. In fact, they’re pieces of the labo­ri­ous­ly and care­ful­ly unrolled and scanned Gand­hara Scroll, which, hav­ing orig­i­nal­ly been writ­ten about two mil­len­nia ago, ranks as one of the old­est Bud­dhist man­u­scripts cur­rent­ly known. You can read the scrol­l’s sto­ry at the blog of the Library of Con­gress, the insti­tu­tion that pos­sess­es it and only last year was able to put it online for all to see.

“The scroll orig­i­nat­ed in Gand­hara, an ancient Bud­dhist kind­gom locat­ed in what is today the north­ern bor­der areas of Afghanistan and Pak­istan,” writes the Library’s Neely Tuck­er. “Sur­viv­ing man­u­scripts from the Gand­ha­ran realm are rare; only a few hun­dred are known to still exist.” That realm “was under the rule of numer­ous kings and dynas­ties, includ­ing Alexan­der the Great, the Mau­ryan emper­or Ashoka and the Kushan emper­or Kan­ish­ka I,” and for a time “became a major seat of Bud­dhist art, archi­tec­ture and learn­ing. One of the region’s most notable char­ac­ter­is­tics is the Hel­lenis­tic style of its Bud­dhist sculp­tures, includ­ing fig­ures of the Bud­dha with wavy hair, defined facial fea­tures, and con­toured robes rem­i­nis­cent of Gre­co-Roman deities.”

Writ­ten in the Gand­hari vari­ant of San­skrit, the “Bahubud­dha Sutra” or “Many Bud­dhas Sutra,” as this scroll has been called, con­sti­tutes part of “the much larg­er Mahavas­tu, or ‘Great Sto­ry,’ a biog­ra­phy of the Bud­dha and his past lives.” Here Tuck­er draws from the schol­ar­ship of Richard G. Salomon, emer­i­tus pro­fes­sor of San­skrit and Bud­dhist stud­ies at the Uni­ver­si­ty of Wash­ing­ton, anoth­er insti­tu­tion that holds a piece of the Gand­ha­ran Bud­dhist texts. Many more reside at the British Library, which acquired them in 1994. The Library of Con­gress bought its Gand­hara Scroll from a British deal­er more recent­ly, in 2003, and it arrived in what Tuck­er describes as “an ordi­nary pen case, accom­pa­nied by a hand­writ­ten note: ‘Extreme­ly frag­ile, do not open unless nec­es­sary.’ ”

So began “sev­er­al years of thought and plan­ning to devise a treat­ment strat­e­gy,” an effort that at one point saw the Library’s con­ser­va­tor prac­tic­ing “her unrolling tech­nique on a dried-up cig­ar — an item that only approx­i­mates the dif­fi­cul­ty of work­ing with a com­pact­ed birch bark scroll.” Then came “grad­ual humid­i­fi­ca­tion over a few days, care­ful unrolling by hand with pre­ci­sion tools on a sheet of inert glass, fol­lowed by plac­ing anoth­er sheet of glass on top once the scroll was com­plete­ly unrolled,” a “dra­mat­ic and silent affair” described in greater detail by Atlas Obscu­ra’s Sab­ri­na Imbler.

The result was six large frag­ments and more than 100 small­er ones, togeth­er con­sti­tut­ing rough­ly 80 per­cent of the scrol­l’s orig­i­nal text. You can see all those frag­ments of the Gand­hara Scroll, scanned in high res­o­lu­tion, at the Library of Con­gress’ web site. This will nat­u­ral­ly be a more edi­fy­ing expe­ri­ence if, like Salomon, you hap­pen to be able to read Gand­hari. Even if you can’t, there’s some­thing to be felt in the expe­ri­ence of sim­ply behold­ing a 2,000 year old text com­posed on birch bark through the dig­i­tal medi­um on which we do most of our read­ing here in the 21st cen­tu­ry — where inter­est in Bud­dhism shows no signs of wan­ing.

Relat­ed Con­tent:

Breath­tak­ing­ly-Detailed Tibetan Book Print­ed 40 Years Before the Guten­berg Bible

The World’s Largest Col­lec­tion of Tibetan Bud­dhist Lit­er­a­ture Now Online

2,000-Year-Old Man­u­script of the Ten Com­mand­ments Gets Dig­i­tized: See/Download “Nash Papyrus” in High Res­o­lu­tion

Google Dig­i­tizes Ancient Copies of the Ten Com­mand­ments and Gen­e­sis

Google Puts The Dead Sea Scrolls Online (in Super High Res­o­lu­tion)

Archae­ol­o­gists Think They’ve Dis­cov­ered the Old­est Greek Copy of Homer’s Odyssey: 13 Vers­es on a Clay Tablet

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

The Flying Train: A 1902 Film Captures a Futuristic Ride on a Suspended Railway in Germany

We’ve been focus­ing a lot recent­ly on old films from the turn of the cen­tu­ry that a small group of enthu­si­asts have been “remas­ter­ing” using AI, smooth­ing out the herky-jerky fram­ing, upping the frame rate by inter­po­lat­ing between-frames, and more.

So what a sur­prise to find a recent look at a film in the Muse­um of Mod­ern Art’s film col­lec­tion from 1902 that already has the fideli­ty and smooth­ness, no AI need­ed.

The above footage is tak­en from the Wup­per­taler Schwe­be­bahn, the sus­pen­sion rail­way built in the Ger­man city of Bar­men in 1901. The Bio­graph pro­duc­tion company—best known to film stu­dents as the place where D.W. Grif­fiths got his start—was one of the most pop­u­lar of the ear­ly film com­pa­nies, and pro­duced mini-docs like these, called Muto­scopes.

The Muto­scope used 68mm film, a film stock twice as large as most films at the time. (70mm film real­ly only came into its own dur­ing the 1950s.) The 30 frames per sec­ond shoot­ing rate was also faster than the usu­al 18fps or 24fps, which means the illu­sion of real­i­ty is clos­er to the video rate of today. The Muto­scope was also the name of the company’s view­er, where the frames were print­ed on cards and could be watched through a viewfind­er. So we are watch­ing a film that was nev­er meant to be pro­ject­ed. (If you’re think­ing that the Muto­scope was also used for pri­vate view­ings of What the But­ler Saw, you are cor­rect.)

Despite the fideli­ty our favorite upscaler Denis Shiryaev still had a go at improv­ing the footage and adding col­or and sound. (There’s also a com­peti­tor work­ing on their own upscale and col­oriza­tion ver­sion called Upscaled Stu­dio). Which one is bet­ter, do you think? And how much was the expe­ri­ence improved?

And in case you’re won­der­ing, the Wup­per­tal Schwe­be­bahn still oper­ates to this day, look­ing very much like it did back in 1902. The total route is just over eight miles long and fol­lows the riv­er Wup­per for a lot of it, and ser­vices 82,000 com­muters a day. (Less so dur­ing COVID of course.) You can check out footage below. It def­i­nite­ly looks fun fun fun on the Schwe­be­bahn.

Relat­ed Con­tent:

Icon­ic Film from 1896 Restored with Arti­fi­cial Intel­li­gence: Watch an AI-Upscaled Ver­sion of the Lumière Broth­ers’ The Arrival of a Train at La Cio­tat Sta­tion

Revis­it Scenes of Dai­ly Life in Ams­ter­dam in 1922, with His­toric Footage Enhanced by Arti­fi­cial Intel­li­gence

A Trip Through New York City in 1911: Vin­tage Video of NYC Gets Col­orized & Revived with Arti­fi­cial Intel­li­gence

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

Milton Glaser’s Stylish Album Covers for The Band, Nina Simone, John Cage & Many More

Mil­ton Glaser hard­ly needs an intro­duc­tion. But if the name some­how doesn’t ring a bell, “Glaser’s many con­tri­bu­tions to pop cul­ture,” as Ayun Hal­l­i­day writes in a pre­vi­ous post, cer­tain­ly will. These include “the  I ❤NY logo, the psy­che­del­ic por­trait of a rain­bow-haired Bob Dylan, DC Comics’ clas­sic bul­let logo.” All images that “con­fer unde­ni­able author­i­ty.” Many chil­dren of the six­ties also know Glaser well for his album cov­ers.

Glaser designed the album art for The Band’s clas­sic Music from Pink, though he stepped back from the cov­er and used one of Bob Dylan’s paint­ings instead. He designed cov­ers for clas­sics like Peter, Paul & Mary’s The Best Of: (Ten) Years Togeth­er and Light­nin’ Hop­kins’ Light­nin’! Vol­umes One and Two.

“Glaser had a long his­to­ry with record labels,” writes design­er Rea­gan Ray. “Accord­ing to Discogs, he was cred­it­ed with the design of 255 albums over the course of 60 years. His rela­tion­ship with record label exec­u­tive Kevin Eggers led him to explore a vari­ety of cov­ers for the Pop­py and Toma­to record labels, includ­ing the career of Townes Van Zandt.”

Glaser illus­trat­ed rock, folk, blues, jazz…. “Clas­si­cal album cov­ers nev­er get much atten­tion in graph­ic design his­to­ry,” Ray points out. But “his col­or­ful paint­ings were inter­est­ing and unique in an oth­er­wise stuffy genre.” He even illus­trat­ed an album by Al Caiola’s Mag­ic Gui­tars called Music for Space Squir­rels, what­ev­er that is. Did he lis­ten to all of these albums? Who knows? Glaser left us in June, but not before dis­pens­ing “Ten Rules for Work and Life” that set the bar high for aspir­ing artists.

One of his rules: “Style is not to be trust­ed. Style change is usu­al­ly linked to eco­nom­ic fac­tors, as all of you know who have read Marx. Also fatigue occurs when peo­ple see too much of the same thing too often.” If any­one would know, it was Glaser. “His work is every­where,” writes Ray, “and his lega­cy is vast.” He also had a very rec­og­niz­able style. See a much larg­er selec­tion of Glaser’s album cov­ers, curat­ed by Ray from over 200 albums, here. And vis­it an online col­lec­tion of Glaser’s oth­er graph­ic design work at the School of Visu­al Arts.

  

Relat­ed Con­tent:

Mil­ton Glaser (RIP) Presents 10 Rules for Life & Work: Wis­dom from the Cel­e­brat­ed Design­er

Art Record Cov­ers: A Book of Over 500 Album Cov­ers Cre­at­ed by Famous Visu­al Artists

Enter the Cov­er Art Archive: A Mas­sive Col­lec­tion of 800,000 Album Cov­ers from the 1950s through 2018

The Icon­ic Album Cov­ers of Hipg­no­sis: Meet “The Bea­t­les of Album Cov­er Art” Who Cre­at­ed Unfor­get­table Designs for Pink Floyd, Led Zep­pelin, Peter Gabriel & Many More

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Ballerina Misty Copeland Recreates the Poses of Edgar Degas’ Ballet Dancers

“I am a man of motion,” trag­ic mod­ernist bal­let dancer Vaslav Nijin­sky wrote in his famous Diary, “I am feel­ing through flesh…. I am God in a body.” Nijin­sky suf­fered the unfor­tu­nate onset of schiz­o­phre­nia after his career end­ed, but in his lucid moments, he writes of the great­est pain of his illness—to nev­er dance again. A degree of his obses­sive devo­tion seems intrin­sic to bal­let.

Misty Copeland, who titled her auto­bi­og­ra­phy Life in Motion, thinks so. “All dancers are con­trol freaks a bit,” she says. “We just want to be in con­trol of our­selves and our bod­ies. That’s just what the bal­let struc­ture, I think, kind of puts inside of you. If I’m put in a sit­u­a­tion where I am not real­ly sure what’s going to hap­pen, it can be over­whelm­ing. I get a bit anx­ious.” As Nijin­sky did, Copeland is also “forc­ing peo­ple to look at bal­let through a more con­tem­po­rary lens,” writes Stephen Mooallem in Harper’s Bazaar.

Copeland has been can­did about her strug­gles on the way to becom­ing the first African Amer­i­can woman named a prin­ci­pal dancer at the Amer­i­can Bal­let The­atre, includ­ing cop­ing with depres­sion, a leg-injury, body-image issues, and child­hood pover­ty. She is also “in the midst of the most illu­mi­nat­ing pas de deux with pop cul­ture for a clas­si­cal dancer since Mikhail Barysh­nikov went toe-to-toe with Gre­go­ry Hines in White Nights” (a ref­er­ence that may be lost on younger read­ers, but trust me, this was huge).

Like anoth­er mod­ernist artist, Edgar Degas, Copeland has rev­o­lu­tion­ized the image of the bal­let dancer. Degas’ bal­let paint­ings, “which the artist began cre­at­ing in the late 1860s and con­tin­ued mak­ing until the years before his death, in 1917, were infused with a very mod­ern sen­si­bil­i­ty. Instead of ide­al­ized visions of del­i­cate crea­tures pirou­et­ting onstage, he offered images of young girls con­gre­gat­ing, prac­tic­ing, labor­ing, danc­ing, train­ing….” He showed the unglam­orous life and work behind the cos­tumed pageantry, that is.

Pho­tog­ra­phers Ken Browar and Deb­o­rah Ory envi­sioned Copeland as sev­er­al of Degas’ dancers, pos­ing her in cou­ture dress­es in recre­ations of some of his famous paint­ings and sculp­tures. The pho­tographs are part of their NYC Dance Project, in part­ner­ship with Harper’s Bazaar. As Kot­tke points out, con­flat­ing the his­to­ries of Copeland and Degas’ dancers rais­es some ques­tions. Degas had con­tempt for women, espe­cial­ly his Parisian sub­jects, who danced in a sor­did world in which “sex work” between teenage dancers and old­er men “was a part of a ballerina’s real­i­ty,” writes author Julia Fiore (as it was too in Nijinsky’s day).

This con­text may unset­tle our view­ing, but the images also show Copeland in full con­trol of Degas’ scenes, though that’s not the way it felt, she says. “It was inter­est­ing to be on shoot and to not have the free­dom to just cre­ate like in nor­mal­ly do with my body. Try­ing to re-cre­ate what Degas did was real­ly dif­fi­cult.” Instead, she embod­ied his fig­ures as her­self. “I see a great affin­i­ty between Degas’s dancers and Misty,” says Thel­ma Gold­en, direc­tor of the Stu­dio Muse­um in Harlem. “She has knocked aside a long-stand­ing music-box stereo­type of the bal­le­ri­na and replaced it with a thor­ough­ly mod­ern, mul­ti­cul­tur­al image of pres­ence and pow­er.”

See more of Copeland’s Degas recre­ations at Harper’s Bazaar.

via Kot­tke

Relat­ed Con­tent:

Impres­sion­ist Painter Edgar Degas Takes a Stroll in Paris, 1915

Watch the 1917 Bal­let “Parade”: Cre­at­ed by Erik Satie, Pablo Picas­so & Jean Cocteau, It Pro­voked a Riot and Inspired the Word “Sur­re­al­ism”

Watch the Ser­pen­tine Dance, Cre­at­ed by the Pio­neer­ing Dancer Loie Fuller, Per­formed in an 1897 Film by the Lumière Broth­ers

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

When Edward Gorey Designed Book Covers for Classic Novels: See His Ironic-Gothic Take on Dickens, Conrad, Poe & More

Twen­ty years after his death, it’s cool­er than ever to like Edward Gorey. This is evi­denced not just by the fre­quent post­ing of his inten­sive­ly cross­hatched, Vic­to­ri­an- and Edwar­dian-peri­od-inflect­ed, grim­ly com­ic art on social media, but by the num­ber of artists who now claim him as an influ­ence. Where, one won­ders, did they come across Gorey in the first place? Hav­ing pub­lished more than a hun­dred books in his life­time (if often in small runs from obscure press­es), he cer­tain­ly put the work out there to be found.

But it was the much more well-known books of oth­er writ­ers like Charles Dick­ens, Joseph Con­rad, T.S. Eliot, and Her­man Melville that first prop­a­gat­ed Gorey’s sen­si­bil­i­ty of, as The New York Times’ Steven Kurutz puts it, “camp-macabre, iron­ic-goth­ic or dark-whim­sy.”

Gorey designed the cov­ers for these books and oth­ers between 1953 to 1960, when he worked at the art depart­ment of pub­lish­ers Dou­ble­day Anchor. He had been tasked specif­i­cal­ly with their new series of paper­backs meant to be “seri­ous,” as opposed to the abun­dance of cheap, low­brow, and often sala­cious­ly pack­aged nov­els that had inspired the term “pulp fic­tion.”

Of the first 200 titles in this series, says Goreyo­g­ra­phy, “about a fourth of these have line drawn cov­ers by Gorey.” Even when oth­er artists (the line­up of whom includ­ed Leonard Baskin, Mil­ton Glaser, Philippe Julian, and Andy Warhol) drew the illus­tra­tion, “Gorey then designed the fin­ished prod­uct lend­ing a uni­form appear­ance to the whole line.” You can see a vari­ety of Gorey’s Dou­ble­day Anchor paper­back cov­ers at Lithub, the most Goreyesque of which (such as Joseph Con­rad’s The Secret Agent at the top of the post) not only bear his illus­tra­tions but con­tain noth­ing not drawn by Gorey, text and colophon includ­ed.

“When these cov­ers first appeared against the back­drop of mass-mar­ket cov­ers in gen­er­al,” accord­ing to Goreyo­g­ra­phy, “they were hailed as ‘mod­ern’ and ‘arty.’ Print mag­a­zine praised ‘a feel­ing of uni­ty… a qual­i­ty of their own.’ ” The end of Gorey’s time at Dou­ble­day did­n’t mean the end of his work on oth­ers’ books: in the 1970s, for exam­ple, he con­tributed suit­ably eerie cov­er and inte­ri­or art to John Bel­lairs’ young-adult nov­el The House with a Clock in Its Walls and five of the sequels that would fol­low it. It was in Bel­lairs’ books that I first encoun­tered the visions of Edward Gorey. More than a few read­ers of my gen­er­a­tion and the gen­er­a­tions since could say the same — and also that we’ve been plea­sur­ably haunt­ed by them ever since.

See more cov­ers over at Lithub.

Relat­ed Con­tent:

Edward Gorey Illus­trates H.G. Wells’ The War of the Worlds in His Inim­itable Goth­ic Style (1960)

Lemo­ny Snick­et Reveals His Edward Gorey Obses­sion in an Upcom­ing Ani­mat­ed Doc­u­men­tary

Edward Gorey Talks About His Love Cats & More in the Ani­mat­ed Series, “Goreytelling”

The Best of the Edward Gorey Enve­lope Art Con­test

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

What Is a “Blerd?” Pretty Much Pop: A Culture Podcast #56 Discusses Nerd Culture and Race with The Second City’s Anthony LeBlanc

The Inter­im Exec­u­tive Pro­duc­er of The Sec­ond City joins your hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt to dis­cuss the scope of black nerd-dom: what nerdy prop­er­ties pro­vide to those who feel “oth­ered,” using sci-fi to talk about race, Black Pan­ther and oth­er heroes, afro­fu­tur­ism, black ani­me fans, Star Trek, Key & Peele, Get Out vs. Us, and more.

A few arti­cles you might enjoy:

Some rel­e­vant videos and pod­casts:

Learn more at prettymuchpop.com. This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

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