The big news during June was Tate Britain’s announcement that it will recreate William Blake’s failed 1809 exhibition in 2019. Speaking to Robert Dex at the London Evening Standard, Alex Farquharson said that the main purpose of the exhibition is to shift the perception of Blake as primarily a poet to a visual artist. The show will open next September and will be one of the biggest displays of Blake’s work since the 2000 exhibition that also took place there.
Although it was actually released at the end of May, Patti Smith’s The New Jerusalem, a prose poem written in response to the Trump Administration’s decision to move the US Embassy to Jerusalem, became available in the UK in early June. As well as her gnomic, Blake-inspired text, it includes a series of images produced by Smith in recent years. Smith gave a talk at the Festival of Voice in Cardiff and we’ll be carrying a review of the book soon. Other publications in June included Julia Fine’s debut novel, What Should be Wild, with nods to Blake in the form of the characters the Blakeleys and a setting of Urizon, while Hiroshi Unno’s The Art of Fantasy, Sci-Fi and Steampunk demonstrates the influence of Blake among other artists on modern fantasy artworks.
A truly wonderful piece of Blake-inspired art came via the Edinburgh College of Art’s end of year degree show. Jack Handscombe, a student at the ECA, produced an installation of a figure dressed in racing leathers, crouched above a keyboard as a palm tree sprouts from its back. Entitled “After Blake’s Newton (After Paolozzi)”, as Duncan Macmillan, reviewing the show for The Scotsman, observed, the piece is a witty parody of the Paolozzi statue that stands in front of the British Library, suggesting that “digital is all very well, but nature will break out”.
Neko Case released a new album, Hell-On, was released on June 1. At least one reviewer (Ludovic Hunter-Tilney at the Financial Times) noted the Blakean connection to the track “Last Lion of Albion”, as in the chorus:
Last lion of Albion
They’ll use you for centuries to come
Your wound’s the main road into London
You’ll feel extinction
When you see your face on their money
Another musical performance announced during June is Eve Beglarian’s The Marriage of Heaven and Hell at, which will be performed at the New York Bang on a Can summer music festival.
Also in the arts, a new show in London was announced, Wirework. Written by Daleen Kruger, the play itself was actually written in Afrikaans in 2009 but has recently been translated, telling the story of The Owl House, a remarkable piece of outsider art by Helen Martins and Koos Malgas. The pair created an extraordinary environment in the middle of the Karoo in the Easter Cape, taking their inspiration from Omar Khayyam, the Bible and William Blake to fill the museum with wonderful statues. The play will perform at the Tristan Bates Theatre in London from July 3-7. Another performance that carried the spirit of William Blake came from Keith Hennessy’s Sink at The Lab in San Francisco. According to the Bay Area Reporter, Hennessy’s dance and chant invokes both Allen Ginsberg’s Howl and Blake’s Songs of Innocence. Also in theatre, Lynne Kaufman’s one act play, William Blake in Hollywood, will show in Cedar City in Utah. Exhibitions during June included William Blake in Colour at the William Blake Gallery, and the owner of the gallery, John Windle, gave a talk on the artist and poet during Melbourne Rare Books Week.
Finally, during June we were also reminded of the Blakean references in Westworld (“Auguries of Innocence”), as a signifier of English identity according to the BBC’s poll (“Jerusalem”), that the Libertines nearly took a more Blakean name, the Albions, and you could have heard a group of Blake scholars – Michael Phillips, Linda Freedman, Susan Matthews and me – discuss the Life and Works of William Blake on the BBC World Service’s programme The Forum.