Böcker utgivna av Christine Burgin Gallery

Ethereal and enigmatic glass slides preserve the resonance of Hughes' voice in rippling, organic compositions The acclaimed Welsh singer and philanthropist Margaret Watts Hughes (1842-1907) was one of many inventors of her day fascinated by the visual documentation of sound. Her "eidophone" comprised a tube attached to a chamber covered in rubber, or "diaphragm." Hughes covered a glass slide with grains of sand or coarse pigment, then saturated it with water or milk. By singing into the device, the vibrations of her voice would etch out patterns onto the disc: an artistic rendering of the scientific principle of standing-wave resonance. Her "Voice Figures," as she called them, ranged from primitive patterns to designs resembling flowers, seashells and other natural phenomena. While Hughes valued her discovery for both its scientific and spiritual implications, leaders of the Theosophical movement saw her work as a means of making visible the invisible world.Sound May Be Seen presents selections from Hughes' original 1891 publication of the "Voice Figures" and a rare surviving set of her glass slides, alongside contemporary reactions to her captivating and ultimately enigmatic work.

Cult sci-fi author and controversial theorist Richard Sharpe Shaver devoted his life to decoding messages from ancient civilizations left behind in rocksScience fiction writer Richard Sharpe Shaver believed that rocks were books imprinted with valuable information about such mythical ancient races as the Lemurians and Atlanteans. His controversial stories about an advanced prehistoric civilization and a race of evil beings living at the center of the earth appeared in Amazing Stories and other landmark sci-fi publications of the '40s and '50s.A decade later, he was living in relative isolation and devoting himself to rock book research, a course of study that he shared with a devoted group of correspondents. Shaver believed that ancient leaders had left behind images embedded into rocks, which he then tried to interpret. Some Stones Are Ancient Books contains a generous selection of Rokfogos accompanied by hand-typed texts in which Shaver explains--not always patiently--all that can be seen in these stones. Also included are facsimiles of his handmade books and publications, all of which he felt to be of incalculable importance to civilization.Richard Sharpe Shaver (1907-75) was an artist and author whose work frequently appeared in 1940s science fiction magazines such as Amazing Stories. He was the center of the Shaver Mystery, a controversy regarding his alleged discovery of a prehistoric civilization, which sparked mass interest and a devoted following that continues to this day.

Cryptic, lyrical and philosophical words from a paragon of experimental New York theater, juxtaposed with the haunting maquettes he created for his playsAn avant-garde comrade of Jonas Mekas, George Maciunas, Jack Smith and others, Richard Foreman (born 1937) was at the forefront of downtown New York's experimental theater scene of the 1960s. He wrote and directed more than 80 verbally and visually singular productions with his Ontological-Hysteric Theater company in a career that spanned 45 years. Foreman's visually arresting plays made heavy use of static tableaux, frantic choreography, projected text and Foreman himself sitting in front of the stage operating the lights and sound. While Foreman has published many of his scripts, No Title is a text unlike anything preceding it. Handwritten on a series of note cards, these aphoristic declarations and philosophical asides hover between being a stream-of-consciousness dialogue and a message sent from another world. Foreman's wonderfully elliptical words are counterposed with photographs of the mystifying diorama-like maquettes that he created while staging a number of his plays.

Wilfred's pioneering and strangely prescient musical instrument predates television, video art and psychedeliaInventor, designer, artist and musician Thomas Wilfred (1889-1968) devoted his life to the creation of a new art form--"Lumia," or the art of light. He invented his own version of a color organ (a term he disliked) and dubbed it the Clavilux, from the Latin meaning "light played by key." After a successful international tour in the 1920s, Wilfred reinvented these large-scale performances as self-enclosed light shows for domestic entertainment. While they enjoyed a short commercial life, Wilfred's aesthetically elegant and interactive Clavilux and Lumia home models soon found their way into storied collections. His work was included in the Museum of Modern Art's 1952 exhibition 15 Americans, where it was seen by many artists who would work with light as their medium in the 1960s and '70s.Clavilux and Lumia Home Models presents a stimulating collection of archival material culled from the Wilfred archive at Yale University and other sources, including Wilfred's never-before-published sketches.

A luminary in more ways than one, celebrated dancer Loïe Fuller studied radium and its potential uses in performanceThe luminous and radical dance performances of Loïe Fuller (1862-1928) at the turn of the 20th century were unlike anything that had ever been staged before. In her Serpentine Dance, she wore a large, diaphanous gown she manipulated with her arms to form undulating waves, while colored lights projected onto the fabric gave the illusion of birds, animals or flowers. While her profound influence on writers and artists such as Mallarmé and Rodin is well documented, less well known is Fuller's passion for technology and her involvement with the leading scientists of the time.Lecture on Radium spotlights Fuller's scientific forays in her own words alongside an array of archival documents and photographs of the dancer in action. The centerpiece of the book is her 1907 lecture on the invention of radium, her notes on meeting Marie and Pierre Curie and Thomas Alva Edison, and her literally explosive efforts to create a glow-in-the-dark dance performance. Featuring an introduction by renowned cinema scholar Tom Gunning, this book presents Fuller's eccentric passions and pioneering pursuits in a fresh light.

Early plans for the Whitechapel Library included provision for an unrealised weathervane. Over a century later this original intention has been achieved through Rodney Graham's Erasmus Weathervane - a glittering addition to the London skyline. This publication celebrates the inauguration of Graham's weathervane on the cupola of the Whitechapel Gallery's roof. Rodney Graham was born in 1949 in Canada and lives and works in Vancouver. He has continually worked across different mediums including photography, sculpture and installation as well as music, film, performance and writing and his work has taken the form of architectural models, books, camera obscuras, wallpaper and musical scores.