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MAX BECKMANN

Of all the artists despised by the Nazi Party in 1930s, Max Beckmann was amongst the most reviled. After the First World War, a boom of intellectualism occurred in Germany, with Berlin as its centre point, and the city became a fertile breeding ground for a new avant-garde that questioned the order of things before. Artists, writers, dancers, performers, musicians, and designers contributed to a culture of the Weimar Republic that was free, wild, and radical at every stage. As Hitler rose to power, he saw these movements as being in direct opposition to his philosophies, decrying it as degenerate art. Book burnings of works of Jewish intellectuals and modernist writers occurred, and the seizing of experimental, expressive, and modern work took place in galleries across the country. Beckmann became a figure head of all that Hitler saw as wrong with the creative culture of the nation, and the artist had to flee the country. This self portrait was his last painted in his home country, and it serves as a defiant declaration of his brilliance, in both skill and composition. He stand atop a staircase, elegantly dressed in a tuxedo, his eyes glancing angrily out of frame while the background behind him descends into turmoil.

Allegory with Boats

LUCIEN COUTAUD

Dreamlike paintings, exploring the subconscious in beautifully rendered, immaculate detail; Lucien Coutaud had all of the trappings of surrealism and yet never identified with the group. As a young man in 1920s Paris, he found himself at the heart of a the avant-garde, forging friendships with Surrealist founder Andre Breton, fellow artist Paul Klee, Pablo Picasso, and Max Ernst, and writers Paul Eluard and Jean-Paul Satre. Were it not for his constant refusal of the label, anyone would be forgiven for thinking that Coutaud was as much as surrealist as Dali or Magritte. Instead, he called his style ‘Eroticomagie’, translating simply as Erotic Magic. This is a fitting description, for in almost all of his paintings there exists an underlying sensuality. Dreamlike, fairy-tale lands and impossible worlds have this strange duality when pictured with Coutaud’s brush - a sombreness pervades atop a sexually charged energy. Inspired, perhaps, by the fledgling psychoanalytical movement, his paintings seem to marry the two human drives of sex and death in soft blues and beautiful greys.

New York, No. 1

HEDDA STERNE

The painting moves between figuration and abstraction with each look as if playing a trick on the eyes. In the lower half, the unmistakeable form of the Brooklyn Bridge comes in and out of focus, the lattice ironwork contorts in impossible, Escher-esque movement, and out of rigid design comes a breathing, living thing that confronts the viewer. The upper half of the painting has less to hold on to, a grey haze covers faint geometry that suggests a skyline rising behind the bridge. Hedda Sterne was a leading Abstract Expressionist, one of the few women in a male-dominated movement, and evident here is her mastery and subversion of the style. Rather than seeking pure emotion through form, she allows figuration to take on the feeling of the unconscious - the oppression and beauty of dense urbanity exists in the interior and exterior lives of all city dwellers and the duality is potently clear here. The work too exists across times, an homage to cityscapes and landscapes before her, and a declaration of a bold, intimidating future that is less readable than ever.

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The Bells

Paul Zweig

A poet, critic and memoirist, Zweig was admired by his friends and the literary circles around him, but remains in wider obscurity to this day. Zweig was an obsessive study of culture, peoples and moods. Cross pollination is clear in Zweig’s work, his techniques as a memoirist clear across his poetry. A careful and astute eye, self-possessed and self-aware, he wrote as if with a magnifying glass, looking at the offhand nature of the world and reading the truth from it. While he looked outwards, he found himself everywhere. He journeyed deeper into the self with each evocative work.

Imagine Lucifer

Jack Spicer

Spicer saw the poet as a radio, intercepting transmissions from outer space. Language was furniture, through which information navigated. He was a radical, both in his literary style and in his life, defying every convention at every turn. Refusing to allow his work to be copyrighted, Spicer ran a workshop called ‘Poetry as Magic’, and for him the statement was true. Poetry was a means to experience and translate the unexplainable, and had to be freely available for those who searched for truth. Spicer died penniless and with only small acclaim, like so many poets before and after him, but the ideas he laid out in his work have gone on to influence thousands of poets after him.

Preface to a Twenty Volume Suicide Note

Amiri Baraka

Amiri Baraka was many things, and many things to many people. The most significant black poet of his generation, Baraka also is considered the founder of the Black Arts Movement and the Second Harlem Renaissance. Baraka wanted poetry, literature and art to be a legitimate product of experience. In doing so, he could hold a mirror up to a world in desperate need of self reflection. He was as fearless in his writing as he was in his activism, and he had a clear vision. The BAM became an aesthetic and spiritual sister of Black Power and Baraka’s voice was the most poignant, cutting and profound.

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Thursday 9th April
The Moon rises in Sagittarius, bringing warmth to the day and helping us to engage with our passions. We may feel a resurgence of energy, both in the garden and within ourselves. There can be a need to move — whether through working the soil or exercising — in order to fully meet this stream of energy. In the garden, it is a favourable time to sow beans, courgettes, and tomatoes, which benefit from the Moon’s passage through Sagittarius. It is the Sun and its warmth that fructify and bring sweetness to the fruit. Biodynamic agriculture, which does not rely on artificial fertilisers, supports the development of tomatoes that are sweet, fragrant, and rich in character. In contrast, the use of fertilisers can cause tomatoes to swell excessively, becoming watery, as each cell takes on more water to balance the salt-like nature of the fertiliser.

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John C. Lilly: Solid-State Intelligence Rebel

Molly Hankins April 9, 2026

Scientist, poet and author Dr. John C. Lilly was a controversial figure, best described in a new documentary as a man “determined to get his hands on the steering wheel of consciousness”…

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