Marilyn Manson takes his inspiration from the glamour of 1930s Hollywood, the grotesque of Vaudeville to the height of cabaret decadence and so-called "degenerate" art in Weimar Berlin before its deconstruction.

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SPIEGEL:
Helnwein gilt wie Sie als Provokateur des Kulturbetriebes - haben sich da zwei verwandte Seelen getroffen?
Manson:
Ein Künstler, der nicht provoziert, wird unsichtbar. Kunst die keine starken Reaktionen auslöst, hat keinen Wert. Helnwein hat das verinnerlicht und entspricht damit genau dem Kern meiner Musik. Unsere Zusammenarbeit erschöpft sich nicht darin, dass ein Künstler einem Musiker ein Cover für sein Album malt. Wir schaffen zusammen Kunst, die unseren Gemütszustand wiedergibt.
SPIEGEL:
Helnwein sagt, Sie seien ähnlich einsam wie er.
Manson:
Ganz bestimmt. Es ist übrigens nicht nur schön, sondern auch befremdlich, jemanden zu finden, der tatsächlich das Gleiche liebt wie man selbst. Ich bin gewohnt für meine Ideen verurteilt zu werden - und plötzlich ist da jemand, der mich auf Anhieb versteht. Ich war nie ein geselliger Mensch. Das ist einer der Gründe, warum Leute wie ich Entertainer werden - weil sie anders nicht kommunizieren können. ...

"High above Marlene Dietrich Blvd. in the city of Berlin, the sun smoldered below the concrete gutter sky like a cigarette burn in a stained bedsheet. We set forth to the Dome of Berlin at dusk and I felt like I was in my own painting, "The Death of Art." Helnwein and I created a living installation with two disabled nude women as families stopped their picnics to stare. Of course we documented this for future viewing. But it didn't begin there...
"Determined, I headed for the birthplace of Expressionism, humming "The Alabama Song," by Kurt Weill. It was time for The Grotesk Burlesk and dozens of mice scurried from the Kinderfeld. Their political organs had to be removed and we set them in formation, creating a metaphorical "question mark."
Marilyn Manson ...

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"The good news for Manson's fans and his accountants alike is 'The Golden Age of Grotesque' may well be his best album yet."
[posted 4/25/2003 U.S.A.]
Manson reveals Album Cover Artwork!
posted: 2003-04-04 ...

D'autres photos sont visibles sur le site www.helnwein.com. ...

The Austrian artist Gottfried Helnwein is well aware of the discomfort the public feels when confronted with images of children not represented as innocents but to whom a powerful sexual identity (and an awareness) is designated. In his work, and especially his paper drawings, he has created some of the most powerful and disturbing representations of abused childhood in history of art. We are not talking about the form of abuse commonly described in the penal code. By altering or removing the inbred pulsation that spurs us to stubbornly refuse or deny what we do not recognise, the manipulations and interferences (The Intrusion) adults perform on the social body of childhood are denounced. ...

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If you are already familiar with Gottfried Helnwein then you proably knew more than I do about art, and I apologize on behalf of the commercially saturated masses.
Helnwein is a ridiculously talented artist. That is basically all you need to know. Anything you could imagine art doing for you, or to you, any feeling it might instill in you or emotion it might remove from you, he captures, then cripples, reformats, and pastes into the cleft pallet of a 20-foot-tall gray-scale rendition of a deformed fetus soaking in formaldehyde.
The essence of realism and ability that every art major ever clamored to grasp, he manages to expel onto canvas with apparent ease. He produces paintings, and photographs that you can't help but wish you could recreate with the same vision, depth, and intrigue. His art is without gimmick and his persona is without persona.
Helnwein is simply someone who enjoys creating, and has been doing a pretty damn good job at it for 35 years. ...