TERROR OF CONFORMITY
“Eat salami before bedtime to ensure nightmares. Bonjour! Bonjour!”
STEVEN ARNOLD
KAISIK WONG AS “MONKEY”
A still from the incomplete film project Monkey, which was to be a collaboration between Steven Arnold and wearable-art pioneer Kaisik Wong. Kaisik Wong is pictured here in make-up and costume as the story’s protagonist, Monkey.
UNTITLED, OIL ON CANVAS, 1974
Steven Arnold painted a series of over 70 surreal 8×10 canvases starting in 1968, continuing until shortly before his death in 1994. You can see other examples of Arnold’s paintings by clicking HERE and HERE.
TIK TOK MAN
Steven Arnold kept a thorough record of his dreams and visions which he would consult when creating his photographic works. These never-before-seen drawings were done pen to pad, with no preliminary sketches, probably at 1 in the afternoon over a “morning” cup of coffee and a cigarette, which was Arnold’s custom.
You can see another example of Steven Arnold’s drawings by clicking HERE.
We will be adding more drawings, B&W Tableaux vivant photographs, paintings, and videos, along with candid photos of Steven, his salons, Salvador Dali, Kaisik Wong, and more. You can receive these updates by e-mail by subscribing to our list using the SUBSCRIBE FOR UPDATES link on the right hand side of the website’s home page.
Salvador Dali and Pandora
Salvador Dali with Steven Arnold’s muse Pandora the night Dali screened and celebrated Mr. Arnold’s surrealistic feature-length film Luminous Procuress in what Steven referred to as “the Louis XIV room” at the St. Regis hotel. New York City’s social elite attended the screening, and the film received rave reviews from Salvador Dali, Andy Warhol, and others. Pandora is dressed in wearable art pioneer Kaisik Wong’s fashion.
New Steven Arnold Galleries
http://pinterest.com/stevenarnoldart/
Click on the photo or link above to visit the new Steven Arnold Galleries featuring video, B&W photography, paintings, etchings, psychedelic rock handbills and more, now up on Pinterest! We will be continuing our usual updates on stevenarnoldarchive.com, Twitter, and Facebook as well. Thank you for joining us in reawakening and celebrating Steven Arnold’s life and work!
ZANZIBAR STUDIO FROM THE OUTSIDE IN
The old pretzel factory in Los Angeles as seen from the outside.
Steven created a large part of his body of work from the late 70s to the early 90s in an old pretzel factory in Los Angeles, which he dubbed Zanzibar Studio after a large papier-mache clown head which became the studio’s mascot.
Scores of people attended Steven’s elaborate salons which were held every evening of the week at Zanzibar. A melange of artists, intellectuals, strippers, musicians, counter-culture icons, activists, actors and actresses, models and comedians gathered representing every facet of the social scene of Los Angeles. People like Blondie’s Debbie Harry, Simon Doonan, Timothy Leary, James Leo Herlihy, Holly Woodlawn, Ellen Burstyn, Tony Ward, Jay Leno, The Cars, and many other notable individuals of the time were known to have crossed Zanzibar’s threshold . The growing salons led some to refer to Steven as the “left-coast Andy Warhol.” Warhol superstar Holly Woodlawn recollects, “Andy’s [salons] were like Sing-Sing, except you could go in and out, Steven’s were more like Versailles, before the guillotine, please.”
From the outside the studio appeared as it was, a dilapidated old pretzel factory, but inside was a liberating theatre of illusion. Steven’s magical world acknowledged the artistic eccentricities all of world history’s Golden Eras and lavish traditions, yet remained remarkably fresh and modern. It was truly unlike anything most of it’s visitors had ever seen.
Please click the links below for more information and interior photographs.
MUNDO MEZA
A tableaux-vivant of Chicano performance artist Mundo Meza. For more information on Meza and the art movement of which he was a part, click HERE. You can see a photograph by Mundo Meza, which was included as a part of the west coast retrospective Pacific Standard Time by clicking HERE.
MECHANICAL THEATRE
“I live in my own dreamworld. That’s the message of my work: regard your dreams, pay attention to them, really look at them, and allow them to manifest! Give yourself time to be quiet and listen to the ancient messages beyond worldly success. [These messages] form the depths of our souls, make us solid, align us with the nature of compassion, and unveil our true place in the cosmos.”
STEVEN ARNOLD
STEVEN ARNOLD’S SERIES OF PSYCHEDELIC ROCK HANDBILLS
Another in Steven’s exquisite series of rock handbills created for the celebrated Matrix nightclub, San Francisco throughout 1967. This handbill features the legendary Steve Miller Blues Band (later to become Steve Miller Band).
LINKS TO OTHER POSTS IN THIS SERIES:
The Charlatans/Frumious Bandersnatch Matrix handbill
Quicksilver Messenger Service/Congress of Wonders Matrix handbill
The Colours/Blue Cheer Matrix Handbill
ELASTIC OPERA
“Nowadays, in our vast cities of steel, we still haven’t lost our need for ancient ritual. Dances with masks and drum are alive in our bones. We are witchdoctors in designer jeans. Ancient sexual impulses rule our buying powers and claw at our self illusions. We get high on whatever, and tune in to our instinctual selves. We seek guides and desire teachings. As we accumulate, we share, and thus we grow – the more evolved our sharing, the richer our growth. Oh, beautiful evenings when we we can truly share!”
STEVEN ARNOLD
DIG IN YOUR GARDEN
“Fantasy is a universal human trait – art is the principal means of expressing it.”
STEVEN ARNOLD
STEVEN’S LOVE OF GEORGES MELIES
A still from one of Georges Melies' films.
Steven Arnold first discovered Méliès in the 1960s on a trip to Europe with students from the San Fransisco Art Institute – he was instantly spellbound. Méliès’ influence on Steven’s work can be seen through Arnold’s use of fantastic dream imagery, his intricate, painted cut-out sets, his skill for floating or flying people and objects, and his use of double exposure, for all of which Méliès laid the groundwork.
Steven Arnold's photographs clearly show signs of his admiration for Georges Melies.
And without him, not only would we have been deprived of Méliès’ amazing cinematic visions, but we may have missed out on some of Steven’s contributions as well.
Watch our video portrait, and see Steven talk about his influences, including Méliès, Dalí, and more HERE.
ALTHEA AT 13 WITH KUSKA, WHO ALWAYS WEARS HIS LITTLE CROWN
Steven borrowed the monkey in this photograph from the highly respected window dresser and fashion enthusiast, Simon Doonan, one of Steven's great friends and supporters.
“The images in Steven’s work cover the broadest possible range, from the commonplace to the most arcane. You will find a teaspoon, you will find a skull. There are drag-queens and Gods, fishes and angels, nudes and fools; trivia mingles with idealism, esoterica with kitch. He wants you to have a good time, he wants you to be transformed forever, he wants to trouble and amuse you, poke fun at you and put you in a sweat, he wants you to feel wonderful and we are all invited to the party he’s giving in heaven. Black tie optional: you might prefer yourself in polka dots and globs of golden goo.”
JAMES LEO HERLIHY, WRITER OF MIDNIGHT COWBOY
THE SHRINES OF ZANZIBAR
An excellent example of the intricate shrine scenes that Steven created in every corner of his Los Angeles studio, Zanzibar. This particular image highlights not only Steven’s flare for interior design, but his talent for assembling found and innexpensive items into large, elborate assemblage sculpture.
PRAYER FOR THE CURE
“ Sometimes I’m not sure I like being nailed to the word tableaux, even though it’s the one I myself use most often in referring to these pieces. I also think of them as magical Rorschach tonkas. The word tonka implies a certain usefulness as an object for meditation. I like that. What the hell. Call them tablonkas! Or tongleaux! Whatever they are, I’ve found a great happiness in this form. It uses every part of me.”
STEVEN ARNOLD
