Jim Shaw: mini-documentary

In conjunction with Jim Shaw’s full-scale exhibition survey of his work, The Rinse Cycle at the Baltic Art Centre (which includes more than one hundred paintings, sculptures, drawings and videos from the last twenty-five years) is this 20 minute feature on the artist, his influences, and the all-mighty Oism.

See Jim Shaw’s visual contribution to Living On: Zombies (Volume 3) here.


Ben Rivers’ “Two Years at Sea” at Anthology Films

Anthology Films in New York will be screening Real Horror (Vol. 1) contributor and IH favorite Ben Rivers’ feature film Two Years at Sea at from October 12 – October 18. Rivers will be in-person on the opening nights. More information can be found here – do not miss it!

Living On: Zombies Release Party


Tuesday, October 2 from 7 – 9pm
Nitehawk Cinema (cafe)

Pre-party for the 9:30pm NY premiere of V/H/S (new horror anthology film released by Magnolia Pictures)

Screening: Jim Shaw’s The Hole (2007)
Spinning: “Undead Soul” by Dave Tompkins

Special horror cocktail: the Corpse Reviver
Stuff: Free digital copies of Living On: Zombies | check out books by contributors 

Thanks to Magnolia Pictures, Nitehawk Cinema, Blonde Art Books, Darren Banks, Dave Tompkins, and all of our contributors!

The Shape at Generator Projects

Gods and Monsters contributor Darren Banks will be included in an exhibition called The Shape this month at Generator Projects (UK) alongside artists Lachlann Rattray and Ben Robinson. The new works were produced in consideration of the correlation of chance and determinism in their implementation found in European horror cinema.

Darren Banks will present Bloody Dreams, Visions & Tourism; a multi-screen installation using found footage and analogue television sets. Each television will be given its own horror movie trope; through a process of selection, isolation, editing and looping, new objects are formed. Recurring horror motifs take on new meaning formally and thematically – horror starts to manifest itself structurally into the work as object and film become interwoven. 

The Shape:
Lachlann Rattray 
Darren Banks
Ben Robinson
24 MARCH – 15 APRIL 

25-26 Mid Wynd Industrial Estate 
DD1 4JG 
+44 (0) 1382 225982 

Gilda Williams: Warhol and Monster-Making

In her essay for Gods and Monsters, “I, Monster: Gothic Metaphor in the Making and Unmaking of Andy Warhol”, Gilda Williams addresses how two of Warhol’s iconic image representations are similar to Gothic traditions:

Halberstam writes, ‘Skin becomes a kind of metonym for the human; and its colour, its pallor, its shape mean everything within a semiotic of monstrosity.’ One might here recall Richard Avedon’s 1969 portrait of Warhol taken a year after the shooting, in which the artist lifts his black leather jacket to reveal his marble-white, scarred torn beneath. On Halberstam’s terms, Warhol raises his outer animal ‘skin’ — which points towards the tough, urbane artist, coolly dressed in black — to reveal another, inner damaged being: the contrasting, unnaturally pale and fragile body beneath, sliced and stitched (like Frankenstein’s Creature), and exposing his true, vulnerable and no longer fully human, unearthly body.

I thought I was too small for Drexel Burnham (1986) is a little-known magazine advertisement for an investment bank featuring the world-famous artist in a double self-portrait. We see in the foreground the everyday ‘human’ Warhol — small, youthful, and unthreatening, poised shyly on the edge of a chair and able to speak the lingua franca of capitalism. On the back wall looms the immense, demonic 1986 self-portrait: behind its unassuming maker, the giant head stares out, stunned and toothless in a spiky wig. This self-construction — replicating a candid Warhol studio shot taken previously (Hickey et. al.:2006, 588) — operates as the modern-day rendering of a Gothic staple: the painted portrait supernaturally coming alive, emerging from the canvas. This stock horror trope has been repeated since Horace Walpole’s seminal Castle of Otranto (1764); this image rehearses in particular the narrative crux of Wilde’s The Picture of Dorian Gray (1890). The scarred painted figure behind Warhol offers an on-canvas performance of the ‘monstrous’ Pop artist, betraying the allegedly damaged soul of the living Warhol who, like Dorian Gray, remains youthfully untarnished in ‘real life’ before us. In this advertisement, aimed at an audience potentially well outside the art world, we can see exploited a self-construction of the artist as his own double, the innocent version of a dark ‘real’ self — a central monster-making literary technique here put to work in Warhol’s mainstream self-imaging.