André Ruellan was a French science fiction and horror writer who has used the pseudonym of Kurt Steiner, Kurt Wargar and André Louvigny. Among the best authors published by the Angoisse horror imprint of Editions Fleuve Noir in the 1950s was André Ruellan, a physician who used the pseudonym of Kurt Steiner to pen 22 novels, mastering all the classic themes and creating some new ones as well; because of Ruellan's medical background, the strength of his novels lay in their detailed clinical, atmosphere of heavy, bludgeoning horror, which anticipated the stronger, books of the next decades. For the Anticipation science fiction imprint of Fleuve Noir, Ruellan penned two heroic fantasy novels starring the futuristic knight, Dal Ortog Dal of Galankar; the world of Ortog is a futuristic Earth where sophisticated science cohabits with a pseudo-medieval society. In the first novel, Ortog is sent by its ruler, Karella, to find a cure for the slow death, killing Earth and its inhabitants after a devastating interplanetary war.
Ortog returns with such a cure, but too late to save his love, Karella’s daughter, Kalla. In the sequel and his friend Zoltan, embark on an Orpheus-like quest through the dimensions of Death to find Kalla’s soul and bring her back to Earth, he finds her, loses her again and returns to Earth, cursed with immortality. Ruellan's science fiction novels are remarkable. Le 32 Juillet describes how a man finds himself in another dimension and explores the vast insides of a giant organism. Les Enfants de l'Histoire is a thinly-disguised allegory of the political events of May 1968 recast in future guise. Le Disque Rayé involves a complex time loop. Brebis Galeuses is a clever medical dystopia. André Ruellan has written a number of screenplays for film director Alain Jessua, his novel Le Seuil du Vide was adapted into an eponymous 1971 film. Alerte aux Monstres Le Bruit du Silence Pour Que Vive Le Diable Fenêtres sur l'Obscur De Flamme et d'Ombre Le Seuil du Vide Les Rivages de la Nuit Je Suis Un Autre Les Dents Froides L'Envers du Masque Les Pourvoyeurs Sueurs L'Herbe aux Pendus La Marque du Démon Lumière de Sang Syncope Blanche La Village de la Foudre Le Prix du Suicide Menace d'Outre-Terre La Chaîne de Feu Dans un Manteau de Brume Mortefontaine Salamandra Le 32 Juillet Glace Sanglante Le Masque des Regrets Aux Armes d'Ortog S.
O. S. Passé Manuel du Savoir-Mourir Les Improbables Les Océans du Ciel Ortog et les Ténèbres Les Enfants de l'Histoire Le Disque Rayé Tunnel Brebis Galeuses Un Passe Temps Les Chiens Mémo Grand Guignol 36-88 Le Terme Albert et Georgette On a Tiré sur le Cercueil André Ruellan on IMDb André Ruellan at the Internet Speculative Fiction Database
Mary Ann Unger was a North American sculptor known for large scale, semi-abstract public works in which she evoked the body, bandaging and bone. She is known for dark, beam-like forms, her sculptures concern universal issues such as death and regeneration and are described as transcending time and place. Unger received a Guggenheim Fellowship and Pollock-Krasner Foundation grants and was a resident fellow at Yaddo, her work is found in collections such as the Hirshhorn Museum and Sculpture Garden, the Brooklyn Museum of Art, the Philadelphia Museum of Art, the Albright-Knox Art Gallery, the High Museum of Art. Mary Ann Unger was a sculptor known for her large scale works with subtle expression, in which she evoked the body, bandaging and bone. Born in 1945, she was raised in New Jersey, she learned to weld and carve as an undergraduate student at Mt. Holyoke College, where she earned a bachelor's degree in 1967. After a year of graduate study at the University of California at Berkeley, she spent several years traveling, including a trip alone through North Africa.
She earned an M. F. A at Columbia University in 1975, where she studied with Ronald Bladen and George Sugarman, she had solo exhibitions at the New York City Sculpture Center, the New Jersey State Museum, the Klarfeld Perry Gallery, the Trans Hudson Gallery. She received a Guggenheim Fellowship and Pollock-Krasner Foundation grants and was a resident fellow at Yaddo, she became known for dark, beamlike forms that were laid out or propped up in clusters. These pieces were made of hydrocal, a lightweight plaster, over steel armatures, with surfaces that appeared scarred and scorched, her sculptures spoke of universal issues such as death and regeneration, transcended time and place. Unger died in 1998 at age of 53 from breast cancer. Unger produced a site-specific installation called Tweed Garden at Tweed Courthouse in New York in 1985, it was an environmental work clustered like a forest with passageways. The 10 painted hexagonal columns flared like trees or flowers; the columns are open in the middle and rise in layers, reaching toward the light from the glass dome above.
It has been described as ornamental in architecture. That same year, Unger produced a site-specific installation for the Phillip and Muriel Berman Museum of Art at Ursinus College of Pennsylvania. Unger's Temple was a gazebo-like structure of red aluminum placed in a group of cherry trees, it was constructed in an openwork fashion with aluminum plate ribs. From afar, the monument looked like a giant party decoration, its circus-like color scheme echoed nineteenth century park architecture, but it was still integrated into the park well. In 1988, Unger's Family was installed at Bellevue Hospital Park in New York City. Critics called it a point of departure for an artist whose private and public works had remained separate; the sculpture consists of three life-size abstract forms aligned as if processing. Each element is both symbolic. One has been described as looking like a dragon tail or a carrot with large conical breasts, while another is more like a cross between an arch, a stepladder, a stretching gymnast.
The third takes a two-part form, with the top like a tuning fork and the bottom like a lush, curvy body in a dress. Unger used pigmented cement overlaid on steel to evoke something earthly and organic. Unger's airy and grand monument known as Ode to Tatlin was commissioned as a permanent work in 1991 by the Aaron Copland School of Music at Queens College in New York; the sculpture forms a gateway to the school in the shape of an ellipse sliced in half to leave an entrance in the middle. It was inspired by Monument to the Third International, a grand building designed by the Russian artist Vladimir Tatlin, never constructed, it was meant to suggest staves of music and the supports of a rollercoaster with a swooping path that contrasts the drab and incoherent stretch of campus where it is situated. Critics were not fond of the sherbet colors of the painted slats of the monument because they found the excessive amount of sweetness sickening. Unger's work was exhibited in the 1985 show, “The Figure as an Image of the Psyche”, at the Sculpture Center in New York, whose main theme was the use of human figures to confront and transform difficult and extreme responses and experiences.
The gallery looked like a war zone and was a reminder that declaratory emotional statements are always possible. The show had the edge and tone of the work Mary Ann Unger contributed. One of her works, was an overwhelming piece made of hydrocal, it can be described as representing a bald head impaled on a spine that supports four vertically-aligned breasts. With small outstretched arms, like the feathers or wings of some prehistoric bird, a huge mouth open toward the sky, the sculpture suggests frantic desire and symbolizes both a cry of pain and a song of faith. In 1989, Unger curated a show called “In a Dark Vein,” at the Sculpture Center in New York, it featured work by women who used the human figure to shape feelings of fear and pain and was inspired by Unger's own struggle with cancer. In this show, she tried to focus on a more naked and physical reality and the search for experience, shared and elemental. Unger included her bonded iron sculpture, which both expresses and mediates suffering.
It shows a nude woman, cut off at the waist, with her hands on her hips. The sculpture's mouth is like a pit facing the sky and her arms are like wings; the earthly figure suggests a fertility goddess insisting on her