DC's

The blog of author Dennis Cooper

70 Dead Museums

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The Haunted Museum (Mapperley, England)
“Once run by Steve Wesson, the museum opened in 2018 and was housed in a former cinema. However, it faced winter weather damage, structural damage, and the pandemic, ultimately closing in June of 2021. As for what remained, items like a hangman’s tree, a paranormal toy box, and a “bloody” seance room that was at the top of some stairs can still be found there amongst the rubble.”

 

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National Lighter Museum (Guthrie, OK)
The National Lighter Museum in Guthrie, Oklahoma had nearly 20,000 pieces, representing over 85,000 years of lighters and fire starters.

 

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Grand Guitar Museum (Bristol, TN)
It’s not a museum any more that museum has been closed for 10 years. It is a radio station now. It looks pretty scary. I don’t think it’s in use anymore. Watch out for sink holes in the parking lot!

 

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Guggenheim Museum SoHo (NYC)
The Guggenheim Museum SoHo was a branch of the Guggenheim Museum designed by Arata Isozaki that was located at the corner of Broadway and Prince Street in Manhattan’s SoHo neighborhood, New York City. The museum opened in 1992. Initial attendance was forecast to be 250,000 visitors a year, but the museum drew between 125,000 and 200,000 its first year, and attendance did not increase in subsequent years. The museum restructured in 1999 to shrink its exhibition space from 27,000 to 20,000 square feet to reduce the museum’s operating costs. The museum closed permanently in 2002.

 

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The Tooth Fairy Museum (Deerfield, IL)
The Tooth Fairy Museum was located in the split-level ranch home on 1129 Cherry Street in suburban Deerfield, Illinois. Created in 1993, the non-profit Tooth Fairy Museum was operated by Dr. Rosemary S. Wells, a former professor at the Northwestern University Dental School. She was considered be the world’s tooth fairy expert. The museum portion of her home contained more than 100 tooth fairy dolls, about 700 drawings by kids, books, pillows, paintings, sculptures and boxes designed to hold baby teeth.

 

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Camp David Museum (Thurmont, MD)
Jerry Freeze opened the Camp David Museum in the lobby area of his restaurant in 2005 to honor the ties between his business and famous country retreat for the POTUS. I say this with affection … it was like the world’s most ambitious junior high school project. Cozy was closed in 2014. The restaurant, cabins, and motel have since been razed and the former site is now a lot for the local car dealership.

 

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Oasis Bordello Museum (Wallace, Idaho)
Located in a quaint little mining town, the Oasis bordello actually operated up until 1988, meaning the artifacts in this downtown building (and its infinitely creepy basement) include old-timey dresses, gas lamps, antique guns, and, weirdly, some VHS tapes encased in glass. The museum tour included trips to the rooms, which included lists of johns’ names, which is… probably not really that great a look for mining magnates who were still alive at the time.

 

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Spirit of Monterey Wax Museum (Monterey, CA)
“There was this Place in Monterey CA That sparked my fear of animatronics. It shows the history of Monterey, but the animatronics are worn out. Its closed permanantly and it just creeped me out.”

 

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Haunted Monster Museum (Pigeon Forge, TN)
A mid-April blaze demolished the Victorian-era mansion that served as the Haunted Monster Museum as well as the centerpiece of a bizzaro place called Dinosaur World where dinos would gobble Union soldiers and where brave visitors could also hunt Bigfoot with a “redneck.”

 

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The American Toby Jug Museum (Evanston, IL)
The world’s largest collection of Toby and Character Jugs. Over 8,743 jugs from the 18th to the 20th-century Admission was free.

 

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$1,000,000 Museum of Musical Automation (St. Louis)

 

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Burt Reynolds Museum (Jupiter, FL)
The Burt Reynolds and Friends Museum, which also housed the Burt Reynolds Institute for Film and Theatre (BRIFT), was located in Jupiter, Florida,[1] the hometown of the actor Burt Reynolds (1936-2018). The museum displayed memorabilia from Reynolds’ movies, and was billed as “Florida’s largest celebrity museum”. It also offered filmmaking and acting classes, some taught by Reynolds himself. The museum opened in 2004, when Reynolds transferred memorabilia from his nearby home. In 2012 the museum was vacated. After it closed, there were proposals to build a new museum at nearby Burt Reynolds Park. But funds could not be raised.

 

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World’s Wonder View Tower (Genoa, CO)
The World’s Wonder View Tower was a tourist trap and roadside attraction located in Genoa, Colorado. The tower was built in the mid-1920s by C.W. Gregory (known as Colorado’s P.T. Barnum) and his partner Myrtle Le Bow. The promoters boasted that it is possible to see six states (Colorado, Kansas, Nebraska, Wyoming, New Mexico, and South Dakota) from the top of the tower. The Tower closed due to the death of the owner. The contents were publicly auctioned off on September 20th, 2014.

 

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The Devils Rope Museum (McLean, Texas)
The museum was officially opened in 1991 and focused on barbed wire and its history. The museum was thought to have the largest collection of published material concerning barbed wire. The Devil’s Rope Museum was housed in a converted brassiere factory.

 

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National Museum of Patriotism (Atlanta)
The National Museum of Patriotism was a museum in Atlanta, Georgia, at its peak occupying a 10,000-square foot site on Spring Street in Midtown Atlanta. However it closed in 2010. It was located in Atlanta, Georgia, opening in premises at 1405 Spring Street on July 4, 2004, and in 2007 moving to a site at 275 Baker St, in the Centennial Olympic Park near the Georgia Aquarium and The World of Coca-Cola. In 2009, the museum inaugurated its Patriot Award: recipients included LaBelle and Gamble, Lee Greenwood, Cowboy Crush, The Bob Hope Foundation, and Access Hollywood.

 

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Roller Coaster Museum (Fairview, TX)

 

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The Honey Bee Museum and Observatory (Fresno, CA)

 

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Mammoth Cave Wax Museum (Cave City, FL)
“The museum has a dated, dusty feel to it, as you can tell when you walk into the front lobby/gift shop. We talked to the elderly couple who owns the museum, and they bought it 4 years ago, although it’s been around since the ’70s. They were honestly some of the sweetest, most genuine people I’ve ever met and it warmed my heart just talking to them. Anyway, on to the review of the museum itself! Like I said, it’s been around since the ’70s and hasn’t changed much since then, as the most recent wax figure is of a *young* Dolly Parton. We started by walking into a low-lit hallway with wax statues displayed in tableaux behind glass, which are completely dark. Suddenly, the scene lights up and an informative recording starts playing giving you a bit of history on the people. Once the recording stops (only about 2 minutes long), you can move on to the next scene. A wide variety of people from American history are represented, with two inexplicable Jesus wax figures that don’t quite fit into the theme of the museum. Nonetheless, the figures are done very well and are so life-like, I honestly thought they were going to come to life at some points! If you’re in the area, I highly suggest stopping to check it out (it’s only $8)!”

 

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The Hitchcock Museum (Barkhamsted, CT)
“Upon entering the Museum, Ray Waldner, the owner, went around the building turning on the lights. As the lights came on, my mouth hung further and further open. I could not believe what I was seeing. Ray has a collection of about everything old from his days of growing up in this area of the plains of South Dakota. There are more old things in this museum, neatly displayed, than anyone can imagine. And Ray himself is a treasure trove of information about the area, having lived there all of his life. There is a donation jar available but I doubt it does much more than pay the light bill.”

 

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The Poozeum (Williams, Arizona)
“Step into the world of coprolites, better known as dinosaur poop, and see thousands of authentic specimens, including “Barnum,” the largest coprolite ever discovered. Take selfies with a 4-foot-wide titanosaur poop replica. Explore bold carnival-style artwork that brings our fossils to life. Meet “The Stinker,” our bronze T. rex on a toilet. Then browse our dinosaur-themed gift shop packed with shirts, toys, fossils, and one-of-a-kind souvenirs.”

 

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The Peace Museum (Chicago)
The Peace Museum was a museum located in Chicago, Illinois, that was founded in 1981 by muralist Mark Rogovin and Marjorie Craig Benton, a former US UNICEF representative. In 1982, The Peace Museum hosted Give Peace A Chance, a major exhibition about music and peace, featuring John Lennon’s guitar inscribed with two drawings of John and Yoko Ono in Lennon’s hand. Ono wrote the dedication to the book for the exhibition, published by Chicago Review Press. Also featured in the show were U2, Bob Marley, Holly Near, Joan Baez, Stevie Wonder, Country Joe McDonald, Harry Chapin, Pete Seeger and Graham Nash, among others. The museum opened its doors in 1981 with an exhibition called “The Unforgettable Fire” which featured drawings from survivors of Hiroshima and Nagasaki atomic bombings. The exhibit drew the attention of U2, who held benefits for the museum and named their next album after the exhibition. The Peace Museum closed sometime around 2007.

 

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America’s Black Holocaust Museum (Milwaukee, WI)
America’s Black Holocaust Museum (ABHM), located in Milwaukee, Wisconsin, is a memorial museum dedicated to the history of the Black Holocaust in America. It was founded in 1988 by James Cameron, the United States’ only known living survivor of a lynching. The Griot Building was named for Dr. Cameron; “griot” is a West African term for an oral historian and news-bringer. Dr. Cameron died in 2006. In 2008, the museum’s board of directors announced that the museum would close because of reduced funding during the 2008 Great Recession.

 

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The Las Vegas Art Museum
The Las Vegas Art Museum (LVAM) closed in 2009. It was formerly located in a building shared with the Sahara West Library branch of the Las Vegas-Clark County Library District in Las Vegas, NV. The Las Vegas Art Museum was “dedicated to engaging visitors in the international culture of contemporary art.” The museum provided the public with publications, lectures, educational and outreach programs. It also developed a significant permanent collection of contemporary art. LVAM was the first fine-arts museum in southern Nevada.

 

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The Teddy Bear Museum of Naples (Naples, FL)
The Teddy Bear Museum of Naples began with a Christmas present: a stuffed M&M’S teddy bear given to Frances Pew Hayes by one of her grandchildren in 1984. Hayes liked the M&M’S Bear so much she began to collect more bears and bearaphernilia. Thus, on December 19, 1990, with 1,500 bears from “Frannie” Hayes’s collection, The Teddy Bear Museum of Naples (at that time known as “Frannie’s Teddy Bear Museum”) opened its doors. For a while the museum, which was located at the corner of Pine Ridge and Airport Roads in Naples, attracted a claimed 50,000 visitors a year, and the collection of teddy bears multiplied. Hayes died on May 15th, 2004, at the age of 85. As happens with many museums founded in the passion of a single collector, the Teddy Bear Museum of Naples did not long survive its benefactor; it closed in 2005 and the collection was sold off.

 

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The Museum of Funeral Customs (Springfield, IL)
The Museum of Funeral Customs was located at 1440 Monument Ave. in Springfield, Illinois, USA. It featured exhibits dealing with American funerary and mourning customs. The museum was near Oak Ridge Cemetery, the site of Abraham Lincoln’s tomb. Collections at the museum included a re-created 1920s embalming room, coffins and funeral paraphernalia from various cultures and times, examples of post-mortem photography, and a scale model of Lincoln’s funeral train. The museum hosted tours and special events and provided resources to scholars who are researching funeral customs. A gift shop provided books and funeral-related gifts, including coffin-shaped keychains and chocolates. The museum was closed in March 2009 due to poor attendance and handling of the museum’s trust fund.

 

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The Bruce Weiner Microcar Museum (Madison, GA)
In 1991, Bruce Weiner didn’t know what a microcar was. He’d never heard of the diminutive fuel-sipping cars that were popular in post-war Europe and didn’t realize the importance of many a microcar in kickstarting European industry. All he knew is that he liked the 1955 Messerschmitt KR200 he spotted in an issue of Hemmings Motor News enough to buy it. Now, more than 200 microcars later, Bruce has decided to disperse his collection of microcars, considered the world’s largest. “I’ve decided that the Microcar Museum has been open long enough,” Bruce said. “My interests have moved to a different place. I’m an empty nester now, and my children don’t have the same interest in microcars.”

 

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Indian City USA (Anadarko, OK)
The Indian City USA Cultural Center, formerly known as Indian City USA, was an outdoor museum in Anadarko, Oklahoma. The center included reconstructions of Native Americans in the United States houses and way of life in the United States. The Department of Anthropology from the University of Oklahoma supervised the construction of the housing units. Reconstructed dwellings represent many of the tribes from the Southwest and Southern Plains, including Caddo, Southern Cheyenne, Wichita, Pawnee, Navajo, and Apache.

 

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Museum of Disgusting Food (Malmo, Sweden)
The exhibit has 80 of the world’s most disgusting foods. Adventurous visitors will appreciate the opportunity to smell and taste some of these notorious foods. Do you dare smell the world’s stinkiest cheese? Or taste sweets made with metal cleansing chemicals?

 

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Museum of Questionable Medical Devices (St. Paul, MN)
Dubbed “The Quackery Hall of Fame” by the Copley Wire Service, the museum was the world’s largest display of what the human mind has devised to cure itself without the benefit of either scientific method or common sense.

 

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The Liberace Museum (Las Vegas)
Economic depression is the enemy of the fabulous. When the Dow plunges, the first things to be jettisoned are signs of ostentatious wealth: spangles, sequins, and bling-bling. Ridiculous gold-plated musical instruments and/or toilets are suddenly out of fashion. We shed no tears at the dearth of diamonds on household objects, nor did we rend our garments when P. Diddy had to fly on a regular plane instead of his private jet. But this, dear readers, strikes a blow to the tacky, glitter-loving, Bob Mackie-worshiper in us all: the Liberace Museum in Las Vegas announced today that it’s closing its doors on October 17 due to poor ticket sales.

 

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The Weird Museum for Boys and Girls (Izu, Japan)
Izu is a popular tourist destination known for hot springs and beaches. Located in the touristy city, The Weird Museum for Boys and Girls, as its name suggests, was a bit of a weird museum. The retro-looking museum was filled with a collection of a wide variety of items such as realistic figurines and occult objects. There are not so many other places that are as chaotic as this place was.

 

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The Hollywood Erotic Museum (Hollywood)
The Hollywood Erotic Museum was an adults-only museum located on Hollywood Boulevard in Hollywood, California specializing in sexual history in Hollywood. It closed down in mid-2006 due to lack of business. The museum featured many different items, including original etchings by Pablo Picasso as well as a legendary stag film dating back to 1948 that is allegedly of Marilyn Monroe having sex with an unnamed man. The video owned by the museum is the only known copy in existence. Also in their permanent collection, contemporary erotic art by such artists as Julian Murphy and Tom of Finland.

 

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Farm Implement Museum (Bloomfield, IN)
“I saw a sign off the highway and followed it to the Farm Museum. It was early in the morning so it was closed; it is only open by appointment anyway. It was started by W.T. Phillips in 1980 as a tribute to his father, an illiterate blacksmith on the island of St. Kitts in the British West Indies. It has a large number of implements on display. I got this information from an article written in 2003 and at that time W.T. was 77. NOTE: I spoke to a local and he said the museum is closed.”

 

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World’s Smallest Bouncy Castle Museum (Seattle)
“Late last winter our plumbing issues came to a head with unfortunate closures of our first floor while our team dealt with days of pumping and hauling gallons and buckets of water out of the building. After significant investments from the museum, the plumbing issues have only worsened, demanding an investment that we cannot undertake. Unfortunately, our building’s roof drains are connected to the main sewer line, which has collapsed and can no longer handle the rainwater efficiently. This impending flooding has left us with no choice but to close our doors.”

 

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Gene Autry Oklahoma Museum (Gene Autry, OK)
“Everyone was so nice. Very knowledgeable. No fee to enter, donations gladly accepted. With our donation they were giving out a CD tribute to Gene Autry. ((Awesome music!!))
This is not just Gene Autry memorabilia, but lots of cowboy movie stars. My husband was in awe….I enjoyed his joy.”

 

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The Museum of Dirt (Boston)
“A museum in Boston, Massachusetts, collects another common substance, but not one you would want to eat. This place is called the Museum of Dirt. It has hundreds of small containers of soil, sand and other dirt. People have given the museum dirt from around the world. For example, the museum has dirt from Graceland, the home of Elvis Presley in Memphis, Tennessee. There is red sand from Nome, Alaska, containing gold. There is also dirt from Mount Fuji in Japan.”

 

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Jones’ Fantastic Museum (Seattle)
Jones’ Fantastic Museum was a family-oriented museum filled with a unique collection of weird and amazing inventions, strange sideshow attractions, old-time dime museum machines and antique exhibits, originally located in Snohomish County, and later in Seattle, Washington, United States, from 1963 to 1980. It was created by avid collector Walt a.k.a. Doc Jones. The museum included a collection of funhouse mirrors, mannequins sporting extra legs and arms, a “Death Ray” machine, Sally Rand’s dancing slippers, a long row of electronic switches that randomly activated a variety of automatons, a nine-foot-tall “mummified Viking” called Olaf the Giant, and a talking skull wearing a Hitler moustache that loudly spouted gibberish in German. Jones had sped up an actual recording of Hitler, giving his speech a cartoonish quality; the sign in front of the skull read “Hitler is Alive!” Doc Jones committed suicide in the early 1970s.

 

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The Umbrella Cover Museum (Peaks Island, Maine)
Nancy Hoffman’s museum began when she realized that so many umbrella covers get tossed aside, but kept for no real reason. The museum was “dedicated to the appreciation of the mundane in everyday life. It is about finding wonder and beauty in the simplest of things, and about knowing that there is always a story behind the cover.” Before its 2018 closure, one took the ferry from Portland to Peaks Island to check it out.

 

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The Drive-Thru Museum (Seale, AL)
The Drive-Thru Museum wasn’t the kind of place where you walked around and looked at all sorts of cool things. In fact, you didn’t even have to get out of your car at all. The once semi-popular roadside attraction, which was an offshoot of Butch Anthony’s taxidermy shop-turned-Museum of Wonder, was made from several stacked shipping containers with carefully cut windows that gave drivers a clear glimpse at Anthony’s assortment of treasures.

 

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SciTrek (Atlanta, GA)
SciTrek housed more than 140 exhibits appealing to all age ranges. The interactive displays offered visitors the opportunity to explore and discover the marvels of the scientific world, with a special Kidscape section specially designed for the two to seven years age group. The “Mathematica: A World of Numbers… and Beyond” exhibit detailed the major achievements in the history of mathematics from the twelfth century as well as explaining mathematical formulae including Kepler’s laws of planetary motion and probability theory. Other exhibits focused on electricity generation in unusual ways, creating energy from magnetism, ‘freezing shadows’ or stepping inside a kaleidoscope. It was forced to close in August 2004 due to reduced federal and state funding, as well as poor fundraising results.

 

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The Conspiracy Museum (Dallas)
The Conspiracy Museum was a private exhibition of conspiracy theories in the West End Historic District of downtown Dallas, Texas (USA). R. B. Cutler, self-described as an “assassinologist”, opened the museum in 1995. The Conspiracy Museum was located across the street from the Kennedy Memorial in Dallas, Texas in the Katy Building. The museum was not limited in scope to the conspiracy theories surrounding the assassination of John F. Kennedy, but it also covered Robert F. Kennedy, Martin Luther King Jr., Abraham Lincoln, and Ted Kennedy’s Chappaquiddick incident. Cutler’s argument was that all these conspiracies can be tied together. The museum was often overlooked by visitors heading to the more well-known Sixth Floor Museum. The museum closed on December 30, 2006, having lost its lease. The building’s owners announced that a Quiznos sandwich shop would take its place.

 

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Words & Pictures Museum of Fine Sequential Art (Northampton, MASS)
The Words & Pictures Museum of Fine Sequential Art was an art museum in Northampton, Massachusetts devoted to exhibitions of narrative art, cartoons, comic books, and graphic novels. Open to the public from 1992 to 1999, the Museum’s collection at one point numbered 20,000 original works from hundreds of artists including Simon Bisley, Vaughn Bodē, Robert Crumb, Richard Corben, Frank Frazetta, Jaime Hernandez, Jack Kirby, George Pratt, Dave McKean, Frank Miller, Jon J Muth, Bill Sienkiewicz, and Gilbert Shelton.

 

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John Lennon Museum (Niagara Falls)
John Lennon Museum ended in 2010.

 

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The Frank Chiarenza Museum of Glass (Meriden, CT)
“Astute readers know that the Frank Chiarenza Museum of Glass closed a few years ago. But I don’t care how astute you are – no way did you know that this place contained one of the premier collections of rare and unusual mould-blown and pressed glass in the country. Don’t lie. You don’t even know what the heck mould-blown glass is. Heck, you don’t even care.”

 

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Sparta Teapot Museum (Sparta, NC)
The museum drew mainly from the teapot collection of Gloria and Sonny Kamm. The Kamm Collection, comprising more than 6,000 teapots, is the largest teapot collection in the USA and arguably the world. In 2006, Congress controversially appropriated nearly $500,000 in federal funding for construction of a new building for the Teapot Museum, but the project was canceled before any of the money left federal hands.

 

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The Apron Museum (Iuka, Mississippi)
The secret behind America’s only museum devoted to aprons was its enthusiastic owner, Carolyn Terry. She started to build her collection from estate sales, and had amassed more than 3500 aprons, some dating back to the Civil War era; one woman in Denmark even donated her grandmother’s dowry aprons from 1922. There was no need to sift through placard upon placard to learn the unique, intimate details about each apron — until her death in early 2019 Terry answered any questions you might have, personalizing your museum experience based on your interests. “If you’re into art, we can look at how artists drew their aprons out. If you’re into history, we can get into the needleworks of a time period. If you’re creative, it’ll move you up a notch,” Terry told Mississippi Today.

 

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The Winston Churchill Museum (Boise, ID)

 

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The Bead Museum (Glendale, AZ)
The Bead Museum was founded to establish a haven for a permanent collection of beads and adornments of all cultures, past and present, which would provide an enduring opportunity for the study and enjoyment of these magnificent examples of art and ingenuity. The museum was founded in 1984 by Gabrielle Liese and housed an international collection of over 100,000 beads and beaded artifacts. It closed in March 2011.

 

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The Winchester Center Kerosene Lamp Museum (Winchester, CT)
“This is the Winchester Center Kerosene Lamp museum. It is no longer open; the proprietor died a few years back.”

 

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Paul A. Johnson Pencil Sharpener Museum (Logan, OH)
Until its closure in 2018, you could stop by the Hocking Hills Regional Welcome Center and visit one of the more unique museums you would have seen, the Paul A. Johnson Pencil Sharpener Museum. Reverend Paul Johnson began his collection more than 20 years ago. This amazing collection of more than 3,400 pencil sharpeners was featured in national magazines and was reputed to be the largest collection in America.

 

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American Dime Museum (Baltimore)
The American Dime Museum (ADM) was co-founded in Baltimore, Maryland, United States, by artist and antique dealer Richard Horne and James Taylor, writer and publisher of the sideshow journal Shocked and Amazed! Opening November 1, 1999, the museum recreated, in spirit, the dime museums which saw their heyday in the 19th and early 20th centuries in America. During its years of operation, the ADM or “the Dime,” as it was known to many, showcased an array of permanent attractions, many authentic and many “authentic fakes” or gaffs as they would be termed by show people. Such manufactured attractions were the forte of Horne, whose artworks in that vein included the Samoan Sea Wurm (a “mummified” sea serpent carcass showcased with a bite of fur from the shipboard cat it had supposedly eaten) and Lincoln’s Last Turd (a gaff of a gaff, actually, since it was displayed as a fake made not by Horne but by another who had tried to cash in on the craze for Lincoln memorabilia by faking the assassinated president’s last bowel movement). Between Horne’s gaff artworks, the tongue-in-cheek signs throughout the museum, the wild assortment of off-beat attractions, and the uproarious periodic live shows given off-site (since the museum had no space for performance), the museum garnered a vast amount of publicity including write ups in The New York Times, The Washington Post, The Japan Times, The Baltimore Sun and travel magazines, including National Geographic Traveler. The museum closed officially in late 2006.

 

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Roy Rogers and Dale Evans Museum (Apple Valley, CA)
According to his son, Roy Rogers, Jr., Rogers was so close with Trigger that when the beloved horse died, he hid it from his family for a year. He had said he couldn’t bear to have to Trigger buried in the ground and so had him stuffed and eventually put on display in the museum. The same was done with Dale’s horse, Buttermilk, and their dog, Bullet. Such an unusual and personal collection appealed to Roy Rogers’ fans, despite being controversial. So why did the museum close down? Well, the answer is simple: Roy Rogers had instructed his son to do so years before. It wasn’t that there was a certain date that he wanted the museum closed down. But he said to his kids: “If the museum starts costing you money, then liquidate everything and move on.” So after a couple of years of decreasing profit and fewer visitors each year, the decision was made to close up shop in 2009.

 

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The CRRA Garbage Museum (Stratford)
The Garbage Museum was a waste management themed museum in Stratford, Connecticut, United States. Constructed and opened in 1994, the recycling facility and museum was constructed for a cost of $5 million and funded through a group of 19 local municipalities, collectively known as the Southwest Connecticut Recycling Committee. The museum was operated by the Connecticut Resources Recovery Authority which focused on empowering visitors with knowledge about waste management and allowed visitors to watch the sorting process of recyclables. The most iconic exhibit was Trash-o-saurus, a dinosaur sculpture made of garbage. Funding for the museum dropped in 2009 due to expiring contracts, but remained open until 2011. The closure of the museum followed a failed fundraising campaign.

 

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StenniSphere (Hancock County, MS)
StenniSphere, the museum and visitor center at NASA’s John C. Stennis Space Center, will close its doors to the public, beginning Feb. 15. Closure of the museum and visitor center comes as the INFINITY at NASA Stennis Space Center science and education project moves forward. Various exhibits from StenniSphere, resident agencies at Stennis and other NASA facilities are being moved into the INFINITY facility to prepare for an opening this spring. Details will be forthcoming.

 

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Little Norway, Wisconsin (Blue Mounds, WI)
Citing financial constraints, Scott Winter, the owner of the Little Norway Norwegian homestead-turned-tourist attraction has closed the facility. “In 1927 my Great Uncle, Isak Dahle, purchased an abandoned farm that had been settled by Norwegian Immigrants in the mid 1800’s. Over the years he renovated the original farm buildings, filled them with antiques from Norway and America and eventually opened what has since been known as Little Norway. For seventy five years, four generations of my family have had the good fortune to share this charming valley with travelers from around the world. And now, as times have changed, so too changes Little Norway. My mother said to me ‘Weren’t we fortunate all these years to have Little Norway in our lives? When you close that gate for the last time, you do so knowing that three generations have their hands on yours.'”

 

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National Philatelic Museum (Philadelphia)
The National Philatelic Museum, in Philadelphia, Pennsylvania, was a short-lived not-for-profit organization intended to create awareness of and offer courses on philately. The museum offered a variety of services, including presentation of exhibits in frames for public viewing and a philatelic library. The museum also hosted numerous philatelic exhibitions held by various philatelic societies. The National Philatelic Museum was unusual in that, in conjunction with nearby Temple University, it offered courses in philately through its Philatelic Institute.

 

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The Titanic Museum and Experience (Orlando)

 

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Skagit-Squatch Museum (Bellevue, WA)
“Super weird guy who used his garage and yard to display a ton of Bigfoot-related art and memorabilia. He also had a notebook where he wrote down any stories that travelers shared with him about Bigfoot sightings they’d had.”

 

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The Elvis-A-Rama Museum (Paradise, NV)
The Elvis-A-Rama Museum in Paradise, Nevada was a large private collection of Elvis memorabilia owned by Chris Davidson which featured an 85-foot-long (26 m) mural about Elvis’ life and career. The museum opened on November 5, 1999, and showcased more than $5,000,000 worth of Elvis’ vehicles, jumpsuits, guitars and other memorabilia. The museum was housed in an 8,200 sq ft (760 m2) building that contained the museum, 100 person showroom and extensive gift shop. All the showcases of Elvis’s belongings were enhanced with murals by renowned artist Robert Emerald Shappy. Over thirty paintings were created by Shappy for both the museums in Nevada. The artwork was valued by Davison at $250,000. A break-in occurred at the museum on March 17, 2004 with almost $300,000 worth of memorabilia stolen including Elvis’ jewelry and a .38 special handgun. The stolen items were recovered on November 3, 2005 with the assistance of Duke Adams, an Elvis impersonator who was approached by, Eliab Aguilar, who was subsequently arrested by Las Vegas Metro for the robbery. The museum was located at 3401 Industrial Road. Elvis Presley Enterprises, Inc acquired the assets and trademark to the museum and closed it on October 1, 2006 to make way for a world class Elvis attraction on the Las Vegas strip.

 

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Gettysburg Cyclorama (Denver)
The cyclorama was cut up for use as tents by native Americans on a Shoshone Indian Reservation after the turn of the century.

 

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American Advertising Museum (Portland)
The American Advertising Museum was a museum in downtown Portland, Oregon, United States. Founded in 1986, the museum displayed advertising from the 18th century to the present day. The museum featured both permanent and traveling exhibits on advertising campaigns, industry icons, and advertising in general. There was also a library and gift shop before it closed by the end of 2004.

 

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The Museum of Cartoon Art (Greenwich, CT)
The first institution dedicated to the collection, preservation, and exhibition of cartoon art, the Museum of Cartoon Art was opened in Greenwich in August 1974. Founded by cartoonist and longtime Greenwich resident Mort Walker, it moved to Port Chester/Rye Brook, NY, in 1977, reopened in Boca Raton, FL, in 1996, and closed permanently in 2008.

 

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Debbie Reynolds Museum and Resort (Las Vegas)
Clarion Hotel and Casino, formerly known as Debbie Reynolds’ Hollywood Hotel and Greek Isles Hotel & Casino, was near the Las Vegas Strip in Paradise, Nevada. The hotel originally opened in 1970 as a Royal Inn, and also operated under the names Royal Americana Hotel and The Paddlewheel Hotel Casino before being purchased by Debbie Reynolds in 1992. After Reynolds sold the property in 1999, it was briefly owned by the World Wrestling Federation, and was then sold and remodeled as the Greek Isles. It was a 202-room hotel and a 7,000 sq ft (650 m2) casino on 6 acres (2.4 ha) of land. The hotel closed on September 2, 2014, after Labor Day weekend. The Clarion Hotel and Casino was demolished by implosion shortly before 3 a.m. on February 10, 2015.

 

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The Unknown Museum (Mill Valley, CA)
The Unknown Museum was curated by Mickey McGowan in a nondescript Mill Valley ranch-style house, from 1974 to 1989. For a small donation, you could marvel at the abundance of pop-culture artifacts set in glorious tableau throughout the house. McGowan had a great eye and a highly sensitive hoarding instinct that made the museum a special place—a baby-boomer funhouse of delights. The entrance sign stated: This Is Your Life, and as you walked in, you realized it was true. Everything from your life seemed to be in front of you, sometimes in multiples of hundreds. And you could touch it and reminisce while laughing at the incredible amount of plastic that makes up our modern lives.

 

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Peter Greenwood Glass Blowing Museum (Riverton, CT)

 

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Million Dollar Museum (White City, NM)
Although now closed, the Million Dollar Museum (which “existed early in White’s City’s history”) was the site of numerous oddities, including child-mummies, and various human and animal curios. The Million Dollar Museum even has a story attached to it of nothing less than…a dead alien (which was clearly a child, by the way, and not an E.T.). The label on the “non-alien body” reads: “No one is sure exactly when the museum acquired this artifact, but it does not appear to be human.” Like the Roswell Slides, many of the displays at the Million Dollar Museum had small placards that were hand-written. Sounds familiar???

 

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The Stoogeum (Ambler, PA)
Containing close to 100,000 pieces of Stoogeabilia, the Stoogeum (rhymes with museum) offers fans a chance to view a vast array of artifacts which celebrate the legacy of this legendary comedy team. The 10,000 square-foot, 3-story building houses anything and everything Stooge. Artifacts from 1918 to the present are on exhibit, including several interactive displays. The Stoogeum also contains a research library, a 16MM film storage vault and an 85-seat theater used for film screenings, lectures and special presentations. NOTE: Although The Stoogeum has been closed to the public since 2016, it has been vowing to reopen ever since.

 

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Planetarium Projector Museum (Big Bear Lake, CA)
The Planetarium Projector Museum housed the world’s largest collection of vintage planetarium projectors. The museum was the work of Owen Phairis, who had been fascinated by the projectors since he went to the Hayden Planetarium as a child.

 

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Madison Museum of Bathroom Tissue (Madison, WI)
The Madison Museum of Bathroom Tissue was established in 1992, and closed in 2000. The museum was founded by Carol Kolb in Madison, Wisconsin, in a second-floor apartment three blocks from the Wisconsin State Capitol. At its peak, the MMBT’s permanent collection contained approximately 3,000 rolls of toilet paper. The toilet paper’s origins ranged from the bathrooms of other museums, like the Metropolitan Museum of Art and the Guggenheim, to American tourist destinations like Wall Drug and Graceland. The museum also had European, African, Australian, Canadian, and Mexican toilet paper as well as a collection of toilet paper from bars and restaurants located in Madison. The Manufacturers Wing contained a collection of retail samples donated by toilet paper manufacturers, many with headquarters in Wisconsin’s Fox River Valley paper-producing area. The museum closed its doors in December 2000 when the remaining live-in staff vacated the address to move away from Madison.

 

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The International Checker Hall of Fame (Petal, MS)
The International Checker Hall of Fame, which operated from 1979 to 2007, was founded by Troy Førde and located in a Tudor style mansion in Petal, Mississippi; it housed a large collection of checkers memorabilia. The hall of fame, which had been home to a statue of checkers-great Marion Tinsley, a checkers library and museum, as well as the two largest checkerboards and host to a number of checker tournaments, was destroyed by fire on September 29, 2007.

 

 

*

p.s. Hey. ** Jack Skelley, Dude, how did it go? London I mean. SFA, nice. I haven’t seen or even listened to them since their heyday. ‘Rings Around the World’ is such a great record. Amsterdam? Finding it hospitable? Sucks that we’re missing each other there by a mere few days. Hoping it’s cooler there. Report in! xoxo. ** Alice, Hi, Alice. Good here apart from the heat. Arcade job! Wow. Doing what precisely? As you must very well know, theme parks both dead and alive are one my major interests. I look at theme park sites multiple times daily. So many incredible defunct rides. I think I’ve done multiple posts here about them. Don’t get me started ‘cos I’ll list faves for days. A long dead amusement park that practically created me or at least my imagination as a kid was Pacific Ocean Park (POP) in Venice, CA. It was my notion of heaven on earth or elsewhere until it burned down in, I think, the very late 60s. Prince, yeah. I saw him live very early, pre-‘Dirty Mind’ at a roller skating rink in West Hollywood, and the last time was on the ‘Sign o’ the Times’ tour in Amsterdam. Yep. You take care too! ** Montse, Hi, Montse!!! So great to see you. Yeah, we’ve been showing the film all over the place like crazy. It’s been great. No, all of the festivals in Spain rejected the film. Our last hope was Mostra Fire!, but they said no too. It’s quite sad. I think there would need to be a film series or venue in, say, Barcelona that shows ‘strange’ films and might be interested, but we don’t know anything about any of them. We’ll keep trying, but, yeah, disappointing. How are you? What and how are you doing, my great pal? ** laura w, Hi. Guster … I don’t think I know them. I’ll find out. Lucky you. Our heatwave just grew worse here today. So ugh. Dalkey Archive is probably, book by book, the best publisher in the US, for sure. Huh, nice that ‘The Sluts’ is having a moment. Wonder why. ‘Viva Pinata’ was a really good game! I forgot about it. I might have to dip back in. Thanks, pal, I hope your weekend ruled. ** Carsten, Hi. Okay, I’ll hunt through my email. The heatwave has been ugh but not sadistic so far, but it feels like it’s going to get quite ugly today. I mostly stayed in the shade of my apartment over the weekend. I have to do some press for the ‘Closer’ reprint, so I did that. I watched a film, Edward Yang’s ‘Taipei Story’, which was very boring. I’d never watched Yang’s films before, and I never will again. ** jay, Hi, jay. Yea, Sue de Beer cover, so nice. At the moment Grove is just going to republish ‘Closer’ and then ‘Frisk’ a little later but we’ll see. It’ll probably depend on if they do okay. You don’t seem stuffy, you just sound discerning. Your basement sounds positively dreamy at this hot moment. Saying ‘The Marbled Swarm’ is written in a sort of descending sequence of fantasy is a beautiful way to put it. To answer your questions in detail would probably need an in-person conversation rather than the p.s. which kind of rushes me, but, long story short, yes. And I’m really thrilled you’re seeing that. Thank you, sir. And I’m happy that it broke through your 21st century literature ban, needless to say. ** Ted, Hi there, Ted! I’m so happy to know that Le Grice post was helpful to your work. What is your photography like, can you say? Me too: short books with very rare exceptions. I just feel like ‘The Sluts’ cover was slapped on there hoping gay guys would be titillated by it and that’s all. That’s what kind of bugs me, I guess. Tulathimutte is a good writer, yeah. I did an event with him in LA, and he’s a cool guy too. ‘Rejection’ has gone so viral. It’s interesting. Enjoy the temperate SoCal for as long as it lasts, and I guess avoid that possible topic waste explosion or whatever it is. What else is going on with you? It’s lovely to talk with you. ** Steve, The heatwave was ugh but doable over the weekend, but it already feels very roasty outside this morning, so I think it’s kicking into high gear. No, Parisians are pretty stubborn about air-conditioning. Not to mention that the design of most French windows is not conducive to air-conditioners. I remember Night Flight. I remembering thinking it was kind of the square live music TV show, but I don’t remember why. Obviously it sounds a lot more interesting in your description. Cool, enjoy. ** Dominik, Hi!!!! My pleasure. No, I haven’t seen the Jarmusch. How is it? He’s very hit or miss for me, so it usually takes me a while to build up the enthusiasm to see his latest. Love should definitely have had pizza, and I hope he did. Love trying to think something that doesn’t just boringly involve the miserable heatwave, but he can’t, grr, G. ** _Black_Acrylic, The world would be a better place if they taught experimental film in schools. Heatwave is life dampening here too. Success! ** naemi, Happy you’re finally here too. Ongoing very best wishes re: your mom. You’ve been there four years, nice. EU citizenship is such a good idea, obviously. I only speak English with any fluidity and probably always will, so I’ll have to stick renewing resident visas. Can you describe the experimental poetry novella/CD project? Only if you can/want to. Any feedback yet? That is nerve-wracking. I have one friend I always show my novels to first, and she’s sharp and honest but also very kind, so I know she won’t break my heart. If it wasn’t so hot here, it would be peaceful between screenings, and I guess it is anyway, but it’s not dreamy exactly, you know what I mean? Happy week ahead. ** Adem Berbic, You’re back in the UK already, just in the nick of time, heat wise, although I guess it could be taxing there too. Right, I have to go look at JR’s Pont Neuf makeover. I don’t like his work, but it does look cool in the photos. I’ll be sure to go inside and report back if it’s even remotely trippy or something. ** Måns BT, Måns! Hey! Zac and I were just talking about and wondering how you are and wondering if you and your pals were in Spain yet. So great to see you!! Oh, I guess since you’re still swamped with school that you’re still up there in good old Stockholm. Thank you infinitely again for the screening and for spending time with Zac and me. It was fantastic, and we’re still glorying in that. Life’s been good. Film stuff mostly. We’re doing our last hosted screening for a while in Amsterdam this weekend, then we get a break. That’s completely wild about the Elis Monteverde Burrau book. Whoa! Haha. I just did a post of some books I read recently and really liked a few days ago, if you feel like scrolling back. I hope the exam went okay. That sounds like a toughy. So, so good to see you! And hopefully again soon. xoxo, me. ** HaRpEr //, Hi. If you’re feeling good about the structure, that’s probably proof positive. You’re doing more within your heat than I’m doing with mine. I need to wake myself up. Maybe via Bernhard? You make a persuasive case. ** Bill, ‘Berlin Horse’ is kind of his masterpiece, but a bunch of the others are very worthy. Great, I’ll go find your missive in my box. Thank you so much, Bill! ** Laura, Hi! My Dutch is too dead even for that. Maybe some will spring back when we’re up in the big A this weekend. Structuralist film is one of my true loves. It’s like going to church for me. It cleans all of the garbage out of my head. ‘The Song Of Achilles’ sounds like a nightmare. There was some very famous writer back in the …. 80s? … who wrote these kind of softcore homoerotic novels about ancient Greece or wherever that were very, very popular, but I can’t remember her name. The heatwave was sufferable, but it’s cranking up today, and it feels doomy, but we’ll see. There are so many really good presses right now. I can’t think so well in the heat. Pilot Press. They’ve been consistently excellent in recent times. ** ⋆˚꩜。darbbzz⋆˚꩜。, That cockroach thing is very scary. I never get scared, and I almost am. We don’t have cockroaches in Paris, or I don’t. But I never see any anywhere. None. It’s wild. Inspiring people are the best. Envy is such a self-defeating delusionary lie. I’m good. It’s too hot, but I’m good. Camel Blues. That’s my cigarette! I think? ** Right. Your optional assignment for today is to look at a lot of defunct museums. See you tomorrow.

Malcolm Le Grice Weekend

 

‘Born in Plymouth in 1940, Malcolm LeGrice is probably the most influential modernist filmmaker in British cinema. LeGrice’s work has explored the complex relationships between the filmmaking, projecting and viewing processes which constitute cinema as a medium, and shows an intense interest in the processes enabled by optical printers and by the combination of different types and gauges of film stock.

‘He started out as a painter in London in the early 1960s and turned to filmmaking in the middle of the decade with the Super-8 film China Tea (1965), which he followed with Castle 1 and Little Dog For Roger (both 1966), made mostly from re-worked found footage. Castle 1 can be seen as prophetic: for screenings of the film in 1968, LeGrice hung a light bulb next to the screen, flashing on and off at regular intervals and, when on, obliterating the screen image, a practice used in Martin Creed’s Turner-prize winning installation some 35 years later.

‘In the ’60s his work was informed by the radical politics of the period in opposition to the Vietnam War and US cultural imperialism, and extended to a deep hostility towards the ‘illusionism’ of Hollywood and other commercial cinemas. This tendency was particularly manifest in Spot the Microdot or How to Screw the CIA (1969), which includes found footage of GIs in battle. But LeGrice’s approach to cinema was also animated by a modernist impulse to put the central focus on the properties of the medium itself, turning them into the ‘content’ of the work. For instance, in White Field Duration (1972-73), a white screen marked only by a scratch running across clear celluloid, activates an intense perception of projection time. This film was also performed as a two-screen event and LeGrice’s installations at times extended to four or even six screens. From the late-sixties onwards, his multiple screen work was often accompanied by live performances interacting with the projection event (Horror Film 1 (1971) and Horror Film 2, (1972)).

‘LeGrice’s best and most complex work was done in the ’70s when, in the face of an intense hostility towards narrative cinema manifested by some of his avant-garde colleagues, he made a trilogy – Blackbird Descending (1977), Emily (1978), and Finnegans Chin (1981) – which elaborated a critical kind of storytelling in which both the formal aspects of cinema and the very structures of narrative are explored in relation to each other: The films are set in the film-maker’s own domestic environment and achieve a combination of intellectual and aesthetic intensity rarely seen in any kind of British cinema. LeGrice also engaged with art history (After Manet (1975), After Leonardo (1973)) and with the pioneers of cinema (After Lumière (1974) and Berlin Horse (1970) – in which he included a re-filmed Hepworth film of 1900, The Burning Barn).

‘In addition to being a prolific filmmaker, LeGrice played an influential role in the critical and institutional promotion of avant-garde cinema in Britain. He was a prominent activist in the Drury Lane Arts Lab, where he formed Filmaktion with William Raban, Annabel Nicolson, Gill Eatherley, Mike Dunford and David Crosswaite, and organised mixed-media shows. He was also a pioneer in the educational domain, initiating the trend towards establishing filmmaking sections in art colleges, a policy that bore fruit in the 1980s as new generations of filmmakers emerged from these courses. He is also an inveterate polemicist: his book, Abstract Film and Beyond, provides both a historical and a philosophical context for the British and European avant-garde cinemas, and he has contributed regularly to the journal Studio International.

‘LeGrice carried out the first experiments with computer-based film making in Britain (Your Lips 1 (1970)), and though it was a preoccupation that he laid aside after 1971, it came to dominate his media practice (along with research into digital art) from the 1980s onwards. Since 1997 he has headed the media research programme at Central St Martin’s art college in London, accompanying his activities with critical-historical reflections.’ — Paul Willemen

 

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Stills










































 

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Further

Malcolm Le Grice Site
MLG @ Lightcone
MLG @ Richard Saltoun Gallery
Malcolm Le Grice: In the Cinema
Multi Screen Improvisation Performed by Malcolm Le Grice and Keith Rowe
Malcolm Le Grice: Present Moments and Passing Time
MALCOLM LE GRICE’S ‘BERLIN HORSE’ @ desistfilm
MLG @IMDb
Muybridgean Motion/Materialist Film: Malcolm Le Grice’s Berlin Horse
“Discourse” versus “Medium”. Interview with Malcolm Le Grice
Beyond Abstract Film, on Malcolm Le Grice
MLG’s books @ goodreads
DVD: Afterimages 1: Malcolm Le Grice Volume 1
‘Abstract Film and Beyond’, by Malcolm Le Grice
After Le Grice: on inciting a new culture and infiltrating institutions
Malcolm Le Grice @ letterboxd
MLG @ MUBI
An Analysis of the Soundtrack in the Work of Malcolm Le Grice

 

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Extras


Malcolm Le Grice February 11, 2019, LA Filmforum


Horror Film (Malcolm Le Grice, 1972/2014)


Arts/Sciences#14: Malcolm Le Grice – Spectator, Presence and Encounter

 

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Interview

 

D: You were actively involved in the film cooperative movement in the sixties. Could you describe your relationships to the London Film Coop, founded in 1966, and how it interacted with your own practice of expanded cinema?

MLG : Your simple question is not really so simple.

I had started making films just before the London Film Makers Cooperative (LFMC) was formed. I began making films as one part of my movement from painting into other art media – including electronic technology and computers. When I made my earliest 8mm films in 1965 I did not know about the Underground cinema in the USA nor the New York Co-op. At that time I also did not know of the early avant-garde cinema – I only started to research that after making my first films.

The origins of an experimental film scene in London in the late 1960’s were also complicated. My first and main contact was not with the LFMC but with the first Arts Laboratory in Drury Lane, London set up by Jim Haynes, and where an old artist friend, David Curtis, had started a basement cinema. From 1967 I showed my work there and quickly, helped by Curtis’s programme, learned about the American and European experimental cinema. At the same time a group of people who wanted to be film- makers began the LFMC. But at that time it was only a distribution organization, showing occasionally at Better Books, a radical bookshop run by Bob Cobbing.

At the Arts Lab, responding to a situation where there were almost no experimental film-makers working in London – partly because of the cost of making 16mm films – Curtis and I developed the idea of establishing a film-makers workshop. I started to put this into practice by making home-made film printing and developing equipment. Though this worked for me and I made almost all my earliest 16mm films on it, it was too fragile and temperamental for other film-makers to use.

During 1968 it became clear to a number of people that it was crazy to have two organizations for experimental film in London when there were so few film makers – so we set up a series of meetings where Simon Hartog from the LFMC and myself from the Arts Lab were asked to make a plan for merging the Co-op and Arts Lab film area. Hartog and I then made a plan and constitution for a new LFMC that would have a workshop and cinema as well as distribution.

Through a contact made by Curtis at the Arts Lab, we were given £3,000 by an American art enthusiast, Victor Herbert, and I bought some used but very good professional film laboratory equipment. The workshop was mainly based on a 16mm Debrie ‘step’ contact printer that we installed at the second Arts Lab incarnation. Though this Debrie was not strictly an ‘optical’ printer, it allowed all sorts of inventive ‘mis-use’ – printing loops, pulling film through the gate by hand, re-colouring with filters or making multiple exposures. This led me and others to explore a range of methods for transforming the film image. The workshop, together with a cinema in the same building, meant the LFMC really took off and became the main centre in London for experimental film screening and production.

D: So what about your own work and expanded cinema?

My expanded cinema direction really started at the first Arts Lab cinema in Drury Lane in ’67 and ‘68. Curtis had designed the space with a very wide screen – a plain large white wall -, a floor with no seats, but a carpet on soft foam and two 16mm projectors. I started to make double projection films partly because the space and two projectors were available there. A little later, the LFMC workshop meant we could produce films very cheaply using black and white Orwo film brought in from East Germany – made at the old Agfa factory under the communists long before the re-unification. This film material had a characteristic high contrast – an old newsreel quality that suited the political environment of London in the politically active period of 1968. The egalitarian core and lack of censorship of the film-coop movement that started with the NY coop also appealed to my ideological position. The London coop quickly developed not just as a centre of experimental film making but also a very active centre of debate about film, culture and its relationship to politics and ideology. In particular I was frequently in discussion with Peter Gidal, who established a definition of Structural Materialist Film – some of these were public debates and we both published theoretical and critical essays.

So – the coop was a major influence on the development of my practice as a film-maker. It provided a very active, energetic intellectual context as well as facilities for production, and in each new temporary building – moving frequently into low rent but short life buildings – the projection space was suitable for experimental forms of projection, shadow and other forms of performance, live music and improvisation.

If the co-op was a major influence, it would be wrong to see it as the only influence. As is well known, London in the 60’s was a hot bed of artistic and ‘life-style’ experiments coupled with politics and protest. There was an eager audience for the ‘underground’ and new forms of art and art fusions. In this environment I was not only involved with film but also experimenting with early, primitive video and particularly seriously with computers. I made various performances including a 3D shadow play and continued my link with experimental music and sound through occasional light and sound performance with the experimental music group AMM.

Tracing specific influences in such a multi faceted environment and historical period is not an easy task.

D: In a sense, it is this idea of a “multi-faceted environment” that offers an entry into your work with film, early video, performance, shadow plays and experimental sound. We would thus like to ask you how “expanded cinema”, the political atmosphere of the time and forms of “intermedia” work interacted with each other? Also, how this set of relationships can be found in your own early experiments with the moving image and sound?

MLG: It is very important to understand that in the late 1960’s many artists were breaking away from the constraints of a single traditional medium – Painting, Sculpture, Music for example. They were experimenting with other media and also with combining media. I now like to talk of this as combining ‘artistic discourses’ rather than media – particularly as almost everything in art production and art viewing is now mediated or re-mediated through a digital process – so what is significant is the combination of historical contexts of ‘language’ rather than the physicality of the ‘medium’.

As a painter and a student at the Slade School in London in 1964 I also became dissatisfied with the limits of painting and started to make work where the painting was only a surface linking to the reality in front of it – with flexible physical attachments and objects hanging in front from clips that could be changed and with microphones and flashing lights – the paintings became time works where the meaning happened subsequent to the work rather than through interpretation of the artist’s intention. So – it was more concerned with a philosophy about the spectator, presence and ethics than about representation, expression and aesthetics. Shifts in medium were not in themselves my main motivation – though Film became the main focus when I started to treat it as a live-performance and not a retrospective narrative. As so little work had been done historically using film in this way a big field of experiment opened up for me, and with the added advantage that it allowed me to combine my earlier involvement with improvised music with my visual (painterly) engagement.

During my period as an art student from about 1959 to 1964 I had also become ‘politicised’ but in a very particular way. In that period Britain was a very closed and hierarchical society – a condition that sadly seems to be rapidly returning now. The aristocracy and wealthy establishment working through public schools and closed Universities seriously inhibited social mobility and meritocracy. Reaction to this came at a number of levels. Changes in dress and life style hit a peak in the late 60’s side by side with the rise in a youth culture of rock music – these were revolutionary if only at the symbolic surface. More fundamental was the rise in left-wing politics pressing for working class equality that was intellectually Marxist but at the grass roots led to increasingly militant workers union activity. This itself was fuelled by the rift with an often incompetent managerial class who had achieved their positions through class contact rather than merit.

I had come into this from a curious provincial sub-working class background. Mine was a family without wealth or education but who were able to live from their wits and energy sometimes near legal borderlines. However they went frequently, and took me, to the theatre and played music. So when later I found myself in the context of the London melting pot of the ‘swinging sixties’, I shared a radicalized political position with a desire for artistic expression. But – and it is a major ‘but’ – these two aspects were never linked directly. I certainly never led my artistic production by any didactic political idea. The two things ran in parallel – an anti establishment politics and a radically experimental approach to art. If they came together it was in the development of an art theory gradually clarifying a spectator-based concept applied mainly in film. This theoretical development was strongly connected to the ideas being developed at the time by Peter Gidal that he called ‘Structural Materialism’. Again I should stress that when I made and showed work I did this from improvised ‘instinct’ within the discourse of the visual, rhythmic, durational, colour, time image. The works were never led by theory. If they linked to the theory it was through a common psycho-philosophical-ethical sub-structure that is the complex core of artistic practice. My theory and that of Gidal were never a manifesto – they were not belief systems.

I always argued that any political stance that I took should be realized through work on the artistic context rather than artistic content. This was the basis of the work I did with the London Film Co-op, in Art Education and on various committees of the British Film Institute and the Arts Council. Here I was motivated by an attempt to shift awareness but also the economic basis of radical art production.

So what of ‘Expanded Cinema’. Curiously I don’t think we talked about the work as ‘Expanded Cinema” until after the Youngblood book was published in 1970. From my recollection I talked about Multi-projection, Performance and after 1973 with the Gallery House show, Installation. In my work a large proportion of my early films were for a comparative two or three screen projections – not randomized multi-media – but, like ‘Castle 2’ (1968), were tightly edited and synchronized focussed on the spectator experience of making their own sense from a ‘present’ duration. The performances related to film were mainly shadow plays like ‘Horror Film 1’ (1971), tape/slide/film improvisations like ‘Wharf’ (1968), moving projector works like ‘Matrix’ (1973) or reading works like ‘Pre-Production’ (1973). But there were other non-film performances at the time. I did a series of live Video performances at the two week ‘Drama in a Wide Media Environment’ show at the London Arts Lab in August 1968, one including an improvised ‘happening’ with news-feed from the Czechoslovakia Russian intervention.

The performances also included audio and light elements in performances by AMM at 26 Kingly Street and a computer generate ‘Typo Drama’ at Event One of the Computer Arts Society in 1969. My installations began with multi-screen loops – mostly abstract colour fields – with audiotape like ‘Gross Fog’ and ‘Josephs Coat’ in 1973.

Returning to the idea of ‘discourse’ rather than ‘medium’. Yes, my work explored cross-media in the physical sense, film-material, the screen as a picture surface, the re-construction of the image through printing treatments, some (primitive) electronic technology in feeding sound to control lights, computers to generate text or film-image (‘Your Lips’ 1969/71). But even within this material concept, the definition of what constituted the ‘medium’ went beyond the established boundaries of ‘medium’. Here, electricity is treated as both medium and content, generated in a socio-political context, enabling the light bulb itself in ‘Castle 1’ (1966). Here an actual flashing light is both an interruption in front of the screen and also represented in the film, and by implication draws attention to the projector light as integral to the medium. This work, drawing attention to the audience space before the screen also extends the concept of medium to the space and time of the projection itself – a kind of temporal sculpture. So, these extensions of the physical understanding of medium are also extensions in the discourses between media and the social forms creating the context for artistic experience – and technology is no longer the carrier of meaning but part of the language itself.

If there is a central consistency in this (which of course there may not be), it is the change of focus from the condition of the artist as the ‘maker of meaning’ to the spectator as the ‘constructor of meaning’. This is an ethical shift that is achieved (if it is achieved) by the aesthetic means of the work. It implies that the artistic experience is not one of retrospective interpretation – interpretation of the meaning put into the work by the artist – but of subsequence, the effect of the experience as it enters the life of the spectator.

Though I may have had political intentions in my work of this early period, few of the works attempted to engage these directly. ‘Castle 1’ and ‘Castle 2’ emerged from a loose, psychological, political interpretation influenced by Kafka (thus the Castle reference). Perhaps the most directly ‘political’ work was ‘Reign of the Vampire or How to Screw the CIA?’ (1970), that used heavily treated military images. However, I was already aware that the representational aspect of ‘political’ content was ineffectual in the social discourse of politics (thus the question mark in the title). Its effective context was the symbolic discourse of art and, in an attempt to square my political motivation with my more intuitive, subjective artistic work, I began to talk of the ‘Politics of Perception’. My interest shifted more clearly to the conceptual behaviour of the spectator. And this attitude broadly remains – not taking up political issues but attempting to make works that require the spectator to think in a different way outside dominant ideologies refusing fixity of meaning or systems of belief.

 

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18 of Malcolm Le Grice’s 88 films

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Castle 1 (1966)
‘A film made with found newsreel footage combined with sequences of a flashing light bulb. It is projected with a real flashing bulb hanging in front of the screen. It is available as a 16mm film with the flasher unit or as a digital video version for repeating installation.’ — MLG


Excerpt

 

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Little Dog for Roger (1967)
‘I thought it was about film as a medium and material – scratches, sprocket holes, dirt, slippage in the projector, blank screen, gaps in the sound-track – I forgot that one of the boys was me, the other was my brother, the young woman was my mother – now dead – and behind the camera in 1952 was my father – the dog was mine – nothing to do with Roger – that’s another story.’ — MLG


Excerpt

 

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Spot the Microdot (1969)
‘This film was made by punching circular holes into fully opaque film stock and laying discs of colour film into some of the punched holes. Only the original copy of this film exists – it cannot be printed and is therefore projected only on rare occasions. As with other Le Grice films from the late 1960s, Spot the Microdot is marked by a radical rejection of ‘illusionism’, choosing to focus instead on the material properties of the film medium itself.’ — Mark Renton

Watch the film here

 

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Berlin Horse (1970)
‘Umberto Boccioni’s fascination with “the dynamic problems of speed, change and fragmentation themselves,” specifically as they related to his volumetric analyses of horses galloping in splintered thunder in paintings like The City Rises (1910) and Charge of the Lancers (1915), could well be seen as having laid a framework for Le Grice’s own slow-burning 1970 film/video/multimedia recording/double projection event, Berlin Horse. In that six-and-a-half minute masterpiece of cinematic serialism, someone’s four-legged friend runs round and round a small corral in a village near Hamburg called Berlin (not the city) until time slips a gear and the world bursts into flame. Horse becomes horses, white horse, black horses, shadows and negatives, looping and layered. A zoetrope, a merry-go-round, then the colours kick in: Muybridge on mushrooms. Le Grice fans the flames. Brian Eno made the soundtrack: the plinky, refracted cascade of a waltz cadence, spinning in upon itself forever, “repetition is form of change.” (No horseyfooting.)’ — Chuck Stephens


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Horror Film 1 (1971)
‘First presented in 1971 using three 16mm projectors each with a short loop of changing colour. Projected onto the same screen – the centre image large and the two side images smaller and superimposed into the centre of the larger screen. The performing body casts complex colour shadow. The action begins touching the screen and – passing through the space of the audience – it ends at the projectors. The actions are timed to an audio tape of breathing. Though improvised in detail to fit the particular time and place, the action follows a consistent pattern that has changed little since the first performance.’ — MLG


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Threshold (1972)
‘…Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity. The initial use of pure red and green filters gives way to a broad variety of colours and the introduction of strips of coloured/celluloid which are drawn through the printer begins to build an image which becomes graphically and spatially complex – if still abstract – and which evokes the paintings of, say, Clifford Still or Morris Louis. With the film’s culmination in representational, photographic imagery, one would anticipate a culminating ‘richness’ of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate the work which is necessary to decipher that cinematic image.’ — Deke Dusinberre


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Whitchurch Down (1972)
‘This film is the beginning of an examination of the perceptual and conceptual structures which can be dealt with using pure colour sequences in loop forms with pictorial material. In this case the pictorial material is confined to three landscape locations, and the structure is not mathematically rigorous.

Witchurch Down is an area of open common land, situated on the edge of Tavistock, Devon, which in total covers over 460 Acres. I particularly like how Le Grice’s abstraction process lends an ‘alien’ and disorienting quality to an otherwise familiar, bucolic view.’ — dovic


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After Leonardo (1974)
‘In my six-screen film After Leonardo, an old crumpled, black and white detail reproduction of the Mona Lisa is attached, during the projection, to a blank white screen.On the other screens are various filmed images of the same reproduction shot at difference distances and also images, a further refilming of the film from the screen. One interpretation of the juxtaposition of a real object (albeit a reproduction of a cultural icon) alongside its cinematic representation is that it highlights the reality of the cinematic in the context of an object we assume to be part of the real physical universe. By ‘reflection’ it reinforces a reading of the cinematic as similarly composed of physical substance and the product of material processes.’ — Malcolm Le Grice


Excerpt

Watch ‘Eighteen fragments from Malcolm Le Grice’s After Leonardo’ here

 

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L’Arroseur Arrose (1974)
‘The films of early cinema are almost like legends or myths now, and its methods and symbols have seeped into our unconscious. After Lumière – L’Arroseur Arrose (1974) by Le Grice picks apart one of early cinema’s classic and frequently re-made works. In Le Grice’s version the act of the gardener being distracted by his lady mistress and then getting soaked by his hose and a young urchin is re-formatted and repeated four times. Early cinema and experimental film can be remarkably similar, a point not lost on people when early films began to shown more frequently towards the end of the 1970s. Here Le Grice highlights film language by emphasizing the film format, the spatial dynamics of the narrative and curiously the class relationships here too.’ — The Quietus


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Gross Fog (1973)
‘A four screen film projection onto four vertically placed screens, which span the gallery space from floor to ceiling. The wall surface is transformed into a rippling column of colour, accompanied by a soundtrack of running water.’ — luxonline


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Weir (1993)
‘An encounter with a small man-made waterfall, firstly seen as a sculptural form then in ultra close-up and slow motion of the movement of falling water.’ — luxonline


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Autumn Horizon number 3 (2005)
‘The last in a series of three screen works exploring alignment of the horizontal. Initially the work was dedicated to Felicity Sparrow on the death of her partner, artist, Ian Breakwell. New, HD multi camera versions may continue to be made.’ — MLG


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DENISINED – SINEDENIS (2006)
‘I sat with Dennis Oppenheim in Kassel and he gave me a working photograph of a drawing for his installation Mind-Twist-Wandering – I asked him to sign it for me – now in a little clip frame in my studio. While we talked I took four photographs on a very low resolution Palm organizer. I liked the pictures and made them into a repeating sequence 1-2-3-4-3-2-1-2…. and so on – a first level palindrome – then I copied the sequence at different levels of increasing speed until they animated – next I copied the whole sequence, reversed it to a second level palindrome. In a reference to Duchamp’s ANEMIC CINEMA – a partial palindromatic title – I devised the palindromatic front and end title (losing an N as there were too many! Sorry Dennis).

‘I wanted a sound track and liked a Bach sonata – I put this on and treated the speed in the same way as the picture (holding the pitch level) – also I treated this as a palindrome – reversing it for the second part of the video. When I showed this to Steven Devleminck and discussed the palindrome he told me that Bach had written a palindromatic work known as the ‘Crab Cannon’. I then decided I would re-make the piece using this music which I located with the help of Al Rees and Nicky Hamlyn (who sent me a copy of the sheet music). I keyed the piece into my computer MIDI programme – and voiced it for strings – then treated it in the same way of speed changes and reverse repeats. The current version of the video has this constructed track. Another reference point is Forwards Backwards Minute Waltz by Ladislav Galeta.’ — MLG


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Self Portrait after Raban Take Measure (2008)
‘Self Portrait looks for an approach to a specific relationship between the duration of a work and material conditions in the projection as did William Raban in the film-performance Take Measure. The main difference is that Raban’s work was made when cinematic media had distinct physical properties linking medium directly to image – this self portrait recognizes that there is no such simple materiality for cinema following the emergence of digital processes. Instead the work takes a conceptual base – the speed of light and the time taken for light to travel from the sun to illuminate objects on earth –thus the duration of 8 minutes 20 seconds.’ — LA Filmforum


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Water Lilies after Monet (2008)
‘My experience of Monet’s large scale panoramic paintings of his water lily garden when I was about 14 years old became a crucial artistic memory. There have been a number of versions of the material I shot in about 1984 of water lilies and reeds in a pond. This sketch is part of a larger project ‘Finiti’. The sound was made by AMM for an earlier video work but has been re-mixed for this version.’ — MLG


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Finiti (2011)
40 minutes, multiscreen video


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Where When (2015)
‘3D has been used by commercial cinema as a means of re-engaging audience with the spectacle of cinema, doing something TV and now the internet cannot easily replicate. It’s a current phenomenon but not a new one. Similarly, Le Grice explored it in the early 1970s and then again late last year, with Where When (2015) creating floating pools of diaristic images that fill out the screen and immerse the viewer in the elemental forces of nature – bright sun, rain, lapping water. The warm colours are rich and the images involving, feeling both present and yet abstracted through the mixing of different locations within the same visual field. The images are shot 2D but then placed in a virtual 3D space.’ — The Quietus


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Marking Time (2015)
‘Marking Time (2015) meanwhile staggered deep layers of colour, sending the viewer into a vortex of electric blues and oranges, evoking both the paintings of Rothko and Le Grice’s on-going interest/fascination/obsession with the spatial and emotional resonances of different hues. Le Grice has been critical of mainstream cinema, with its emotional manipulations, but not spectacle in its rawest, most open of forms.’ — The Quietus


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p.s. Hey. ** Adem Berbic, And same back from Madeleine. There’s a piñata store in the 10th near the canal where we got most of the pinatas for ‘PGL’, and it’s great but I don’t think you can smash them there. If the venue is locked in, fate’s in charge. I’m sure it’ll be festive even through your nerves. See you where art goes to die in a mere several. ** Dominik, Hi!!! No big. I’ve never been to Palermo, so that would’ve been interesting, but it’s also nice to have a rest between gigs too. Fave pinata? Mm, it’s true the horror movie ones are hard to resist. Maybe one of those life-size muscle car ones, but I have no room. The Bat Woman one is kind of rote, but it charms me. Love murdering our sudden heatwave at the count of 3 … 2… 1, G. ** jay, I grew up going to kids’ birthday parties that usually centred around piñata whacking, so there’s some kind of resonance there. I have a little donkey piñata near my left shoulder that Ange Dargeant, ‘RT’ star, gave me for my birthday, and I want to smash it, but it’s empty and I can’t figure out what to fill it with. We just got the heatwave here too, urgh. It’s not hell on earth yet, but I think it’s supposed to be by this afternoon. Your flatmates think of you as super stuffy? What, are they wild bohemians or something? I wish I had a basement today. Our building does, but it smells overwhelmingly like a basement, and I’d have to break the lock to get inside it. We’ll see how bad it gets. Enjoy yours for both of us. Yeah, that dull as dishwater washed out image of some guy or whatever on ‘MLT’. It’s especially annoying because the ‘MLT’ hardcover was one of my very favorite covers. But the press decided it was too disturbing. Wusses. ‘The Sluts’ cover just looks like someone grabbed the first softcore homoerotic, ‘edgy’ photo they could find or something. Ugh. French book covers are great, especially the books of my publisher POL, because they’re just blank white with the title and author on the front in a pretty but simple blue font. Let’s reassemble once the scalding weekend has gotten sadism out of its system. ** _Black_Acrylic, Precisely! That is one destroyed, gloomy looking former piñata there, pal. Nice! Cheers back. I hope it’s not too hot there. ** Carsten, I’ve had pinatas on the blog before, but not that post. I have a thing for them. They’re even a biggish component of our film ‘PGL’. Nice poem piece. Those poor kids! ** HaRpEr //, Yeah, we just got the heat too. Wtf! It’s fucking May. Crank a fan (like me)? Flow, okay. But crazy flows are the best. But then I’m not on the Booker Prize committee, obviously. Yeah, ‘Suicide’ is great. They recently published an unfinished novel by Leve here, but I’m doubting it’ll get translated. ** Laura, Can inanimate objects be sadistic? I’ll need to dwell on that. Huh. I lost my Dutch because I moved to NYC and then LA where virtually nobody spoke it, and it just faded out. Sometimes when there are Dutch tourists on the metro here, I do kind of understand what they’re saying, which is nice because they’re safely assuming no one around them will understand. The axe went just barely through the skull. Otherwise … kaput. I ordered Sarah’s book yesterday too. Those people you conversed with haven’t actually read very much serious literature apparently. Or what they think is ‘serious’ is too boring to think about. I don’t have Paypal. xo. ** Okay, This weekend I invite you to trawl through the works of arguably the big dog of UK experimental filmmaking, the late and inspiring Malcom Le Grice. See what you think if you’re lured into seeing. See you on Monday.

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