Posts Tagged ‘spirituality

24
May
19

Exhibition: ‘Josef Albers in Mexico’ at the Heard Museum, Phoenix, Arizona

Exhibition dates: 1st February – 27th May 2019

Curator: Lauren Hinkson, Associate Curator of Collections at the Guggenheim Museum in New York

Organised by The Solomon R. Guggenheim Foundation, New York

 

 

Josef Albers (American, born Germany 1888-1976) 'Study for Homage to the Square, Closing' 1964

 

Josef Albers (American, born Germany 1888-1976)
Study for Homage to the Square, Closing
1964
Acrylic on Masonite
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996

 

 

It is fascinating to see “the influence and connectivity between the work of Josef Albers and the abstracted geometric vocabulary of pre-Columbian art, architecture and material culture” … and the press release might add, between Albers, architecture and the flattened, geometric vocabulary of his photographs.

The lesser-known photographs and collages are “a visual conversation Albers created in response to his frequent visits to Mexico to view archaeological sites as early as the 1930s, illustrating the nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper.”

But these photographic collages stand as works of art in their own right, for they are music not just notation. Just look at the elegance and tension between the lower images in Mitla (1956, below). You don’t group photographs together like this so that they sing, so that the ‘ice-fire’ as Minor White would say (that space between each image that acts as tension between two or more images), enacts powerful attractors of light, form and energy (or spirit, if you like) … without knowing what you are doing, without feeling the presence of what you are photographing.

While artists have used photographs as “models” for other forms of art for years (for example Atget’s “documents for artists”), and we acknowledge that purpose, these images stand on their own two feet as visually nuanced, cerebral and finished works of art.

Dr Marcus Bunyan

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Many thankx to the Heard Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Josef Albers (American, born Germany 1888-1976) 'Study for Sanctuary' 1941-1942

 

Josef Albers (American, born Germany 1888-1976)
Study for Sanctuary
1941-1942
Ink on paper
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Ballcourt at Monte Alban, Mexico' c. 1936-37

 

Josef Albers (American, born Germany 1888-1976)
Ballcourt at Monte Alban, Mexico
c. 1936-37
Gelatin silver print
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Tenayuca' I1942

 

Josef Albers (American, born Germany 1888-1976)
Tenayuca I
1942
Oil on Masonite
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'The Pyramid of the Magician, Uxmal' 1950

 

Josef Albers (American, born Germany 1888-1976)
The Pyramid of the Magician, Uxmal
1950
Gelatin silver print
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996

 

Josef Albers (American, born Germany 1888-1976) 'Governor’s Palace, Uxmal' 1952

 

Josef Albers (American, born Germany 1888-1976)
Governor’s Palace, Uxmal
1952
Gelatin silver print
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996

 

Josef Albers (American, born Germany 1888-1976) 'Luminous Day' 1947-1952

 

Josef Albers (American, born Germany 1888-1976)
Luminous Day
1947-1952
Oil on Masonite
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Platform of the Eagles, Chichen Itza' 1952

 

Josef Albers (American, born Germany 1888-1976)
Platform of the Eagles, Chichen Itza
1952
Gelatin silver print
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

 

The Heard Museum is presenting Josef Albers in Mexico. The exhibition demonstrates the influence and connectivity between the work of Josef Albers (German, 1888-1976) and the abstracted geometric vocabulary of pre-Columbian art, architecture and material culture. The Heard Museum is the third and final stop of the exhibition which opened in New York in 2017 then traveled to the Peggy Guggenheim Collection in Venice in 2018.

Josef Albers in Mexico is organised by the Solomon R. Guggenheim Foundation, and curated by Lauren Hinkson, Associate Curator of Collections at the Guggenheim Museum in New York. Drawing from the collections of the Solomon R. Guggenheim Museum and the Josef and Anni Albers Foundation, Josef Albers in Mexico presents an opportunity to learn about a little-known aspect of the artist’s practice and the influences he absorbed in his travels.

“Through his close attention to ancient architecture, Josef Albers developed new modes of seeing the modern world,” says Lauren Hinkson. “This exhibition of his celebrated paintings, along with lesser-known photographs and collages, reveals the complex and often surprising roles of place, time, and spirituality in Albers’s body of work.”

Included in the exhibition are rarely seen early paintings by Albers, including Homage to the Square and Variant/Adobe series, works on paper, and a rich selection of photographs and photocollages, many of which have never before been on view. The photographic works reveal a visual conversation Albers created in response to his frequent visits to Mexico to view archaeological sites as early as the 1930s, illustrating the nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper. Accompanying the artworks are a series of letters, personal photographs, studies and other ephemera.

Josef Albers was born in Bottrop, Germany in 1888 and was a fixture at the pioneering school of art, architecture, and design, the Bauhaus, until its forced closure by the Nazis. Albers and his wife, Anni Albers (1899-1994), an accomplished artist and textile designer, relocated to the United States in 1933, where he first accepted a position as head of the department of art at Black Mountain College outside of Asheville, North Carolina, a position he held until 1949. He then went on to be the head of the design department at Yale University in New Haven, Connecticut. Josef and Anni Albers traveled often to Latin America with particular interest in Mexico – visiting the country more than a dozen times from the 1930s to the 1960s. Albers’ fascination with the visual culture of Mexico left an indelible mark on his own artistic production and methodology, with sites like Teotihuacán, Chichén Itza, Monte Albán, and Mitla resonating within his paintings and stimulating new experiments in his photography.

The Heard also produced a series of public programs co-curated by the Heard Museum’s Fine Arts Curator, Erin Joyce. Topics include explorations of colour theory with some of todays’ leading artists, designers, and architects; the influence of Indigenous art and aesthetics on broader visual art, the role it has on informing artistic production and investigations into formalism and politics. Josef Albers in Mexico runs through Monday, May 27, 2019 at the Heard Museum.

Press release from the Heard Museum [Online] Cited 25/02/2019

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956

 

Josef Albers (American, born Germany 1888-1976)
Mitla
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Josef Albers (American, born Germany 1888-1976) 'Mitla' 1956 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

Anni Albers (American, born Germany 1899-1994) 'Josef Albers, Mitla' 1935-39

 

Anni Albers (American, born Germany 1899-1994)
Josef Albers, Mitla
1935-39
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976

 

 

Heard Museum
2301 N. Central Avenue
Phoenix, Arizona 85004

Opening hours:
Monday – Saturday 9.30am – 5 pm
Sunday 11am – 5pm

Heard Museum website

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20
Apr
19

Exhibition: ‘Hilma af Klint: Paintings for the Future’ at the Solomon R. Guggenheim Museum, New York

Exhibition dates: 12th October 2018 – 23rd April 2019

Curators: Curated by Tracey Bashkoff, Director of Collections and Senior Curator, with the assistance of David Horowitz, Curatorial Assistant, and organised with the cooperation of the Hilma af Klint Foundation, Stockholm.

 

The exhibition Hilma af Klint: Paintings for the Future has attracted more than 600,000 visitors since its opening, making it the most-visited show in the history of the Solomon R. Guggenheim Museum. The survey of Hilma af Klint’s work is the first major solo exhibition in the United States devoted to the Swedish artist.

“For me, the 2018-19 art season will always belong to the Swedish painter Hilma af Klint (1862-1944). I say this simply as a measure of the psychic and historical shift caused by the Guggenheim Museum’s extraordinary full-dress retrospective of her nearly 40-year career.” ~ Roberta Smith, The New York Times

 

 

Installation viInstallation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

 

Installation view of the exhibition Hilma af Klint: Paintings for the Future, Solomon R. Guggenheim Museum, New York, October 12, 2018 – April 23, 2019
Photo: David Heald

 

 

What can one say…

Magical, mystical, enchanted; chakra, mandala, golden ratio; music, spirit, energy.

Af Klint imagined displaying these works in a spiral temple, but the building never came to fruition. Now they are displayed in the spiral of the Solomon R. Guggenheim Museum, New York. I think she would have been very pleased.

She stipulated that her paintings not be shown for 20 years following her death, convinced the world was not ready for them. She was probably correct in that assumption. But now, now we are ravished by her creativity and prescience.

If she only knew how much she is now loved and adored. An enigmatic star that burns so very bright in the cosmos.

For Joyce Evans

Marcus

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Many thankx to the Solomon R. Guggenheim Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

 

Hilma af Klint (Swedish, 1862-1944) 'Group X, No. 1, Altarpiece' (Grupp X, nr 1, Altarbild) 1915 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
Group X, No. 1, Altarpiece (Grupp X, nr 1, Altarbild) (detail)
1915
From Altarpieces (Altarbilder)
Oil and metal leaf on canvas
237.5 x 179.5 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group X, No. 1, Altarpiece' (Grupp X, nr 1, Altarbild) 1915

 

Hilma af Klint (Swedish, 1862-1944)
Group X, No. 1, Altarpiece (Grupp X, nr 1, Altarbild)
1915
From Altarpieces (Altarbilder)
Oil and metal leaf on canvas
237.5 x 179.5 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Installation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

Installation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

Installation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

Installation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

 

Installation views of the exhibition Hilma af Klint: Paintings for the Future, Solomon R. Guggenheim Museum, New York, October 12, 2018 – April 23, 2019
Photos: David Heald

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 7., Adulthood, Group IV' [The age of men] 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 7., Adulthood, Group IV [The age of men]
1907
Tempera on paper mounted on canvas
315 x 235 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström/Moderna Museet

 

 

From October 12, 2018, to April 23, 2019, the Solomon R. Guggenheim Museum presents the first major solo exhibition in the United States of the Swedish artist Hilma af Klint (1862-1944). When af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colourful, and untethered from recognisable references to the physical world. It was several years before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and others would take similar strides to free their own artwork of representational content. Yet af Klint rarely exhibited her remarkably forward-looking paintings and, convinced the world was not ready for them, stipulated that they not be shown for 20 years following her death. Ultimately, her work was not exhibited until 1986, and it is only over the past three decades that her paintings and works on paper have received serious attention.

Hilma af Klint: Paintings for the Future offers an opportunity to experience af Klint’s artistic achievements in the Guggenheim’s rotunda more than a century after she began her daring work. Curated by Tracey Bashkoff, Director of Collections and Senior Curator, with the assistance of David Horowitz, Curatorial Assistant, and organised with the cooperation of the Hilma af Klint Foundation, Stockholm, the exhibition features more than 170 of af Klint’s artworks and focus on the artist’s breakthrough years, 1906-20. It is during this period that she began to produce nonobjective and stunningly imaginative paintings, creating a singular body of work that invites a reevaluation of modernism and its development.

Hilma af Klint was born in Stockholm in 1862 and went on to study painting at the city’s Royal Academy of Fine Arts, graduating with honours in 1887. She soon established herself as a respected painter in Stockholm, exhibiting deftly rendered figurative paintings and serving briefly as secretary of the Society for Swedish Women Artists. During these years, she also became deeply engaged with spiritualism, Rosicrucianism, and Theosophy. These forms of spirituality, which were also of keen interest to other artists, including Kandinsky, František Kupka, Malevich, and Mondrian, were widely popular across Europe and the United States, as people sought to reconcile long-held religious beliefs with scientific advances and a new awareness of the global plurality of religions.

Af Klint developed her new approach to art making together with her spiritual practice, outside of Stockholm’s male-dominated art world. She had begun to regularly hold séances with four other women by 1896. During a meeting in 1906, one of the spirits that the group often channeled asked af Klint to create a cycle of paintings. Af Klint immediately accepted. She worked on the project between 1906 and 1915, completing 193 paintings and works on paper collectively called The Paintings for the Temple. These works, which included her first forays into non-objectivity, were a radical break from the more staid paintings she produced as part of her public practice. Stylistically, they are strikingly diverse, utilising biomorphic and geometric forms, expansive and intimate scales, and maximalist and reductivist approaches to composition and colour. She imagined installing them in a spiral temple, but the building never came to fruition. Af Klint described the final group of The Paintings for the Temple, called the Altarpieces, as “the summary of the series so far.” Recent research suggests this group of paintings was exhibited in 1928 at the World Conference of Spiritual Science and Its Practical Applications in London – the only known public display of The Paintings for the Temple during the artist’s lifetime. After she completed The Paintings for the Temple, af Klint continued to test the limits of her new abstract vocabulary. In these years, she experimented with form, theme, and seriality, creating some of her most incisive works.

 

Exhibition catalogue

Hilma af Klint: Paintings for the Future is accompanied by an illustrated catalogue representing her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Edited by Tracey Bashkoff, the volume includes contributions by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, Ylva Hillström, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, and Julia Voss. Essays explore the social, intellectual, and artistic context of af Klint’s 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars, and curators considers af Klint’s sources and relevance to art in the 21st century. The volume also delves into her unrealised plans for a spiral-shaped temple in which to display her art – a wish that finds a fortuitous answer in the Guggenheim Museum’s rotunda, the site of the exhibition.

Press release from the Solomon R. Guggenheim Museum Cited 11/03/2019

 

Hilma af Klint (Swedish, 1862-1944) 'Untitled' 1920

 

Hilma af Klint (Swedish, 1862-1944)
Untitled
1920
From On the Viewing of Flowers and Trees (Vid betraktande av blommor och träd)
Watercolor on paper
17.9 x 25 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'No. 1' (Nr 1) 1917 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
No. 1 (Nr 1) (detail)
1917
From The Atom Series (Serie Atom)
Watercolor on paper
27 x 25 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'No. 1' (Nr 1) 1917

 

Hilma af Klint (Swedish, 1862-1944)
No. 1 (Nr 1)
1917
From The Atom Series (Serie Atom)
Watercolor on paper
27 x 25 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group IX/SUW, The Swan, No. 17' (Grupp IX/SUW, Svanen, nr 17) 1915

 

Hilma af Klint (Swedish, 1862-1944)
Group IX/SUW, The Swan, No. 17 (Grupp IX/SUW, Svanen, nr 17)
1915
From The SUW/UW Series (Serie SUW/UW)
Oil on canvas
150.5 x 151 cm
©  The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group IX/SUW, The Swan, No. 17' (Grupp IX/SUW, Svanen, nr 17) 1915 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
Group IX/SUW, The Swan, No. 17 (Grupp IX/SUW, Svanen, nr 17) (detail)
1915
From The SUW/UW Series (Serie SUW/UW)
Oil on canvas
150.5 x 151 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'No. 2a, The Current Standpoint of the Mahatmas' (Nr 2a, Mahatmernas nuvarande ståndpunkt)1920

 

Hilma af Klint (Swedish, 1862-1944)
No. 2a, The Current Standpoint of the Mahatmas (Nr 2a, Mahatmernas nuvarande ståndpunkt)
1920
From Series II (Serie II)
Oil on canvas, 36.5 x 27 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group I, Primordial Chaos, No. 16' (Grupp 1, Urkaos, nr 16) 1906-1907

 

Hilma af Klint (Swedish, 1862-1944)
Group I, Primordial Chaos, No. 16 (Grupp 1, Urkaos, nr 16)
1906-1907
From The WU/Rose Series (Serie WU/Rosen)
Oil on canvas
53 x 37 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group V, The Seven-Pointed Star, No. 1n' (Grupp V, Sjustjärnan, nr 1) 1908

 

Hilma af Klint (Swedish, 1862-1944)
Group V, The Seven-Pointed Star, No. 1n (Grupp V, Sjustjärnan, nr 1)
1908
From The WUS/Seven-Pointed Star Series (Serie WUS/Sjustjärnan)
Tempera, gouache and graphite on paper mounted on canvas
62.5 x 76 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Tree of Knowledge, No. 5' (Kunskapens träd, nr 5) 1915 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
Tree of Knowledge, No. 5 (Kunskapens träd, nr 5) (detail)
1915
From The W Series (Serie W)
Watercolor, gouache, graphite and metallic paint on paper
18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Tree of Knowledge, No. 5' (Kunskapens träd, nr 5) 1915

 

Hilma af Klint (Swedish, 1862-1944)
Tree of Knowledge, No. 5 (Kunskapens träd, nr 5)
1915
From The W Series (Serie W)
Watercolor, gouache, graphite and metallic paint on paper
18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Tree of Knowledge, No. 5' (Kunskapens träd, nr 5) 1915 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
Tree of Knowledge, No. 5 (Kunskapens träd, nr 5) (detail)
1915
From The W Series (Serie W)
Watercolor, gouache, graphite and metallic paint on paper
18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

 

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Open daily 10 am – 5.30 pm
Tuesdays and Saturdays until 8 pm

Solomon R. Guggenheim Museum website

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16
Mar
19

Photographs: Marcus Bunyan. ‘Oblique’ 2019

March 2019

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 2019 From the series 'Oblique'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
2019
From the series Oblique
Digital colour photograph

 

 

Here is a new body of work shot mainly from moving taxi windows in Bangkok and surrounds, interspersed with still, Zen-like images.

With the moving images, you have to anticipate by a couple of seconds the movement of the taxi and the release of the shutter so you have no idea what the image will actually be. Your sense of previsualisation is completed on feel and instinct. You trust the world to provide the image which you are looking for. I enjoy them, they give me pleasure and contentment in their creation.

 

Oblique

In terms of defining the concept of the oblique we can say that: “The oblique is fundamentally interested in how a body physically experiences a space.”

In this case, both physically and spiritually.

The series investigates the concept through images of movement and stillness, fleeting glimpses of urban life intertwined with Zen-like images. The series is constructed not as a sequence, but as a “volume” where there is no beginning, no middle and no end. It is like a jewel that can be turned around and looked at from different perspectives, where no one perspective is the correct interpretation. Each volume has its own validity, its own uniqueness.

The images can also be read as a protest against death – no beginning, no middle, no end – where everything is connected to everything else. As Goethe observes in his Conversations with Eckermarm (5 June 1825):

“In nature we never see anything isolated, but everything in connection with something else which is before it, beside it, under it, and over it.”

Dr Marcus Bunyan

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66 images
© Marcus Bunyan

Please note: the series is best viewed on a desktop computer with a large screen.

PLEASE VIEW THE WHOLE SERIES ON MY WEBSITE

PLEASE CLICK ON THE PHOTOGRAPH BELOW TO SEE A LARGER VERSION OF THE IMAGES

Alternative versions of the work can be found at Oblique B, Oblique C and Oblique D.

 

 

Marcus Bunyan (Australian, born England 1958) 'Oblique' series 2019

 

The 66 images of Oblique (2019). Please click on the photograph to see a larger version of the work

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 2019 From the series 'Oblique'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
2019
From the series Oblique
Digital colour photograph

 

 

Marcus Bunyan website

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19
Oct
18

Exhibition: ‘Black Light: Secret traditions in art since the 1950s’ at Centre de Cultura Contemporania de Barcelona

La llum negra. Tradicions secretes en l’art des dels anys cinquanta

Exhibition dates: 16th May – 21st October 2018

Curator: Enrique Juncosa

Artists: Carlos Amorales / Kenneth Anger / Antony Balch / Jordan Belson / Wallace Berman / Forrest Bess / Joseph Beuys / William S. Burroughs / Marjorie Cameron / Francesco Clemente / Bruce Conner / Aleister Crowley / René Daumal / Gino de Dominicis / Louise Despont / Nicolás Echevarría / Robert Frank / João Maria Gusmão + Pedro Paiva / Brion Gysin / Jonathan Hammer / Frieda Harris / Derek Jarman / Jess / Alejandro Jodorowsky / Joan Jonas / Carl Gustav Jung / Matías Krahn / Wolfgang Laib / LeonKa / Goshka Macuga / Agnes Martin / Chris Martin / Henri Michaux / Grant Morrison / Tania Mouraud / Barnett Newman / Joan Ponç / Genesis P-Orridge / Sun Ra / Harry Smith / Rudolf Steiner / Philip Taaffe / Antoni Tàpies / Fred Tomaselli / Suzanne Treister / Vaccaro – Brookner / Ulla von Brandenburg / Terry Winters / Zush

 

 

 

Leon Ka – La llum negra – Mural

The mural at the entrance of the exhibition Black Light created by the artist Leon Ka, represents some of the symbols of ocultism, magic, and the mysticism of spirituality.

 

 

I love these eclectic exhibitions on unusual topics. Having studied a little Georges Gurdjieff, Carl Jung, Robert Johnson, Joseph Campbell and Carlos Castaneda to name just a few, I immersed myself in their spiritual, psychedelic and counterculture world. I had scarification done on my arm in 1992 which was one of the most spiritual rights of passage I have ever experienced in my life (see photograph below).

To be different, to explore that difference in art, is to violate the taboo of control – of adherence to the norm – that emotion which controls how we think, feel, act and create. As Georges Bataille observes,

“”The taboo is there in order to be violated.” This proposition is not the wager it looks like at first but an accurate statement of an inevitable connection between conflicting emotions. When a negative emotion has the upper hand we must obey the taboo. When a positive emotion is in the ascendant we violate it. Such a violation will not deny or suppress the contrary emotion, but justify it and arouse it.”1

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An “understanding of the text [writing, art, music, etc.] as ‘social space’,” say Barthes, “activates a broad intertextuality and a productive plurality of meanings and signifying/interpretive gestures that escape the reduction of knowledge to fixed, monological re-presentations, or presences.” What he is saying here is that there is no singular unity… for unity is variable and relative. Further, according to Kurt Thumlert (citing Lentricchia, 1998), “a transgressive textuality can also become a mode of agential resistance capable of fragmenting and releasing the subject, and thereby producing a zone of invisibility where knowledge/power is no longer able ‘find its target’.”2

In other words, transgression of the taboo allows the artist (in this case) to release himself from the logic of control and where power cannot get its hooks into him. In order to do this during the production of art, the artist must understand that representations are presentations which entail,

“the use of the codes and conventions of the available cultural forms of presentation. Such forms restrict and shape what can be said by and/or about any aspect of reality in a given place in a given society at a given time, but if that seems like a limitation on saying, it is also what makes saying possible at all. Cultural forms set the wider terms of limitation and possibility for the (re)presentation of particularities and we have to understand how the latter are caught in the former in order to understand why such-and-such gets (re)presented in the way it does. Without understanding the way images function in terms of, say, narrative, genre or spectacle, we don’t really understand why they turn out the way they do.”3

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The exhibition Black Light investigates how artists subvert these codes and conventions of representation and violate their taboo through emotions (whether positive or negative) present in the creative process. This transgressive spirit allows far seeing artists to become the seers of their day, playing with the dis/order of time, space and cultural (re)presentation. As a form of alchemy, all art partakes of this investigation into the past, present and future of life, our discontinuous existence as creatures who live and die, and the world that surrounds us, both physically and spiritually.

Marcus

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Many thankx to the Centre de Cultura Contemporania de Barcelona for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

  1. Bataille, Georges. Death and Sensuality: A Study of Eroticism and the Taboo. New York: Walker and Company, 1962, pp. 64-65.
  2. Thumlert, Kurt. Intervisuality, Visual Culture, and Education. [Online] Cited 10/08/2006 No longer available.
  3. Dyer, Richard. The Matter of Images: Essays on Representations. London: Routledge, 1993, pp. 2-3.

 

 

Marcus Bunyan. 'Marcus (after scarification)' 1992

 

Marcus Bunyan (b. 1958)
Marcus (after scarification)
1992
Gelatin silver print
© Marcus Bunyan

 

 

 

Black Light. Discover the occult side of contemporary art

The occult, spirituality, psychedelia and esotericism come to the CCCB with the exhibition Black Light. An unusual look at the art of the past 50 years that has been strongly influenced by secret traditions.

 

 

Joan Jonas
Reanimation (extract)

 

 

Henri Michaux (24 May 1899-19 October 1984)

 

 

Henri Michaux (French, 24 May 1899-19 October 1984) was a highly idiosyncratic Belgian-born poet, writer, and painter who wrote in French. He later took French citizenship. Michaux is best known for his esoteric books written in a highly accessible style. His body of work includes poetry, travelogues, and art criticism. Michaux travelled widely, tried his hand at several careers, and experimented with psychedelic drugs, especially LSD and mescaline, which resulted in two of his most intriguing works, Miserable Miracle and The Major Ordeals of the Mind and the Countless Minor Ones.

 

 

Kenneth Anger
Lucifer Rising (Original track by Acqua Lazúli)
1972-80

 

 

For more information about this film please see the Lucifer Rising Wikipedia entry

Kenneth Anger (born Kenneth Wilbur Anglemyer; February 3, 1927) is an American underground experimental filmmaker, actor and author. Working exclusively in short films, he has produced almost forty works since 1937, nine of which have been grouped together as the “Magick Lantern Cycle”. His films variously merge surrealism with homoeroticism and the occult, and have been described as containing “elements of erotica, documentary, psychodrama, and spectacle”. Anger himself has been described as “one of America’s first openly gay filmmakers, and certainly the first whose work addressed homosexuality in an undisguised, self-implicating manner”, and his “role in rendering gay culture visible within American cinema, commercial or otherwise, is impossible to overestimate”, with several being released prior to the legalisation of homosexuality in the United States. He has also focused upon occult themes in many of his films, being fascinated by the English gnostic mage and poet Aleister Crowley, and is an adherent of Thelema, the religion Crowley founded. (Text from the Wikipedia website)

 

Barnett Newman (1905-1970) 'Untitled' 1946

 

Barnett Newman (1905-1970)
Untitled
1946
Oil on canvas
76.5 x 61.1 cm
© IVAM, Institut Valencià d’Art Modern, Generalitat Valenciana

 

Antoni Tàpies. 'Book covers' 1987

 

Antoni Tàpies
Book covers
1987
Paintings on old book covers
60 x 78.5 cm
Private collection, Barcelona
© Heirs of Antoni Tàpies / Vegap, Madrid

 

Leon Ka. 'Creatio: Lux, Crux' 2015

 

Leon Ka
Creatio: Lux, Crux
2015
Door of the cultural association Magia Roja, Barcelona

 

 

Black light is about the influence that various secret traditions have had on contemporary art from the nineteen-fifties to the present day. It presents some 350 works by such artists as Antoni Tàpies, Agnes Martin, Henri Michaux, Joseph Beuys, Ulla von Brandenburg, William S. Burroughs, Joan Jonas, Jordan Belson, Goshka Macuga, Kenneth Anger, Rudolf Steiner, Alejandro Jodorowsky, Francesco Clemente and Zush.

Black light brings together, in more or less chronological order, paintings, drawings, audiovisuals, sculptures, photographs, installations, books, music, engravings and documents by artists largely from North America, where secret traditions have historically enjoyed greater acceptance. There are works by creators who are considered fundamental to the history of art, such as Antoni Tàpies, Barnett Newman and Agnes Martin, alongside less-known figures of the counterculture of the sixties and seventies. The show also presents young artists to reflect the renewed interest in these traditions.

The work of all of them goes to show the relevance and continuity of these habitually overlooked trends, in many cases regarding art as a possible means to a higher cognitive level, as an instrument of connection with a more profound reality, or as a form of knowledge in itself. These ideas are contrary, for example, to a purely formalistic understanding of abstraction. Specifically, the exhibition also explores the influence of esoteric ideas on areas of popular culture, such as comics, jazz, cinema and alternative rock.

 

Henri Michaux. 'Untitled' 1983

 

Henri Michaux
Untitled
1983
Oil on linen paper
24 x 33 cm
© Courtesy Galerie Lelong & Co. Photography: Fabrice Gibert

 

Marjorie Cameron. 'West Angel' Nd

 

Marjorie Cameron (American, 1922-1995)
West Angel
Nd
Graphite, ink and gold paint on paper
60.3 x 93.3 cm
© Courtesy Nicole Klagsbrun and Cameron Parsons Foundation

 

 

Marjorie Cameron Parsons Kimmel (April 23, 1922-June 24, 1995), who professionally used the mononym Cameron, was an American artist, poet, actress, and occultist. A follower of Thelema, the new religious movement established by the English occultist Aleister Crowley, she was married to rocket pioneer and fellow Thelemite Jack Parsons.

Read her entry on the Wikipedia website

 

Aleister Crowley. 'Snow-Peak beyond Foothills, Libra I8 September-October' 1934

 

Aleister Crowley
Snow-Peak beyond Foothills, Libra I8 September-October
1934
Pen and wash on paper
45 x 50 cm
© Ordo Templi Orientis

 

Unknown photographer. 'Aleister Crowley as Magus, Liber ABA' 1912

 

Unknown photographer
Aleister Crowley as Magus, Liber ABA
1912
Originally published in The Equinox volume 1, issue 10 (1913)

 

Wolfgang Laib. 'Passageway' 2013

 

Wolfgang Laib (Germany, b. 1950)
Passageway
2013
Brass ships, rice, wood and steel
6 3/4 x 99 x 12 inches
© Wolfgang Laib

 

 

Wolfgang Laib (born 25 March 1950 in Metzingen) is a German artist, predominantly known as a sculptor. He lives and works in a small village in southern Germany, maintaining studios in New York and South India.

His work has been exhibited worldwide in many of the most important galleries and museums. He represented Germany in the 1982 Venice Biennale and was included with his works in the Documenta 7 in 1982 and then in the Documenta 8 in 1987. In 2015 he received the Praemium Imperiale for sculpture in Tokyo, Japan.

He became worldknown for his “Milkstones”, a pure geometry of white marble made complete with milk, as well as his vibrant installations of pollen. In 2013 The Museum of Modern Art in New York City presented his largest pollen piece – 7 m x 8 m – in the central atrium of the museum.

Text from the Wikipedia website

 

Brion Gysin. 'Dreamachine' 1960-1976

 

Brion Gysin (British, 1916-1986)
Dreamachine
1960-1976
Cylinder. Painted and cut hard paper, Altuglas, electric bulb and motor
120.5 cm x 29.5 cm
© Galerie de France. Paris, Centre Pompidou – Musée national d’art moderne – Centre de création industrielle

 

 

Brion Gysin (19 January 1916-13 July 1986) was a painter, writer, sound poet, and performance artist born in Taplow, Buckinghamshire.

He is best known for his discovery of the cut-up technique, used by his friend, the novelist William S. Burroughs. With the engineer Ian Sommerville he invented the Dreamachine, a flicker device designed as an art object to be viewed with the eyes closed. It was in painting and drawing, however, that Gysin devoted his greatest efforts, creating calligraphic works inspired by the cursive Japanese “grass” script and Arabic script. Burroughs later stated that “Brion Gysin was the only man I ever respected.” …

The Dreamachine (or Dream Machine) is a stroboscopic flicker device that produces visual stimuli. Artist Brion Gysin and William S. Burroughs’ “systems adviser” Ian Sommerville created the Dreamachine after reading William Grey Walter’ book, The Living Brain.

In its original form, a Dreamachine is made from a cylinder with slits cut in the sides. The cylinder is placed on a record turntable and rotated at 78 or 45 revolutions per minute. A light bulb is suspended in the centre of the cylinder and the rotation speed allows the light to come out from the holes at a constant frequency of between 8 and 13 pulses per second. This frequency range corresponds to alpha waves, electrical oscillations normally present in the human brain while relaxing. In 1996, the Los Angeles Times deemed the Dreamachine “the most interesting object” in Burroughs’ major visual retrospective Ports of Entry at LACMA. The Dreamachine is the subject of the National Film Board of Canada 2008 feature documentary film FLicKeR by Nik Sheehan.

A Dreamachine is “viewed” with the eyes closed: the pulsating light stimulates the optic nerve and thus alters the brain’s electrical oscillations. Users experience increasingly bright, complex patterns of colour behind their closed eyelids (a similar effect may be experienced when travelling as a passenger in a car or bus; close your eyes as the vehicle passes through flickering shadows cast by roadside trees, or under a close-set line of streetlights or tunnel striplights). The patterns become shapes and symbols, swirling around, until the user feels surrounded by colours. It is claimed that by using a Dreamachine one may enter a hypnagogic state. This experience may sometimes be quite intense, but to escape from it, one needs only to open one’s eyes. The Dreamachine may be dangerous for persons with photosensitive epilepsy or other nervous disorders. It is thought that one out of 10,000 adults will experience a seizure while viewing the device; about twice as many children will have a similar ill effect.

Text from the Wikipedia website

 

 

An approach without prejudice to art and esoteric beliefs

Esoteric traditions can be traced back to the very origins of civilisation, having served at different times to structure philosophical, linguistic, scientific or spiritual ideas. Despite their importance for the development of twentieth-century art, they tend to be ignored or disparaged these days due to the dominance of rationalistic thinking and the difficulty of talking about these subjects in clear, direct language.

In recent years, however, many artists have taken a renewed interest in subjects such as alchemy, secret societies, theosophy and anthroposophy, the esoteric strands in major religions, oriental philosophies, magic, psychedelia and drug-use, universal symbols and myths, the Fourth Way formulated by the Armenian mystic Georges Gurdjieff, etc., generating an interest in these fields that had not existed since the counterculture of the sixties and seventies.

According to the writer Enrique Juncosa, curator of this exhibition, this interest “may be due to the fact that we are, once again, living in a restless and unsatisfied world, worried about new colonial wars, fundamentalist terrorism, serious ecological crisis and nationalist populism, just as in the sixties and seventies people feared an imminent and devastating nuclear catastrophe. Furthermore, much of today’s mainstream art is actually rather boring due to its complete lack of mystery and negation of any kind of poetisation or interpretation of our experience of it.”

For the essayist Gary Lachman, author of the text “Occultism in Art. A Brief Introduction for the Uninitiated” in the exhibition catalogue, “in recent years, the art world seems to have become aware of the importance of occultism […]. Admitting the influence of Hermeticism on the Renaissance, or of theosophy on early abstract art, to mention just two examples, helps to re-situate occult forces as an undeniable part of human experience and rescue them from the marginal position to which they had been exiled for a few centuries.”

 

Terry Winters. 'Bubble Diagram' 2005

 

Terry Winters (American, b. 1949)
Bubble Diagram
2005
Oil on linen
215.9 x 279.4 cm
© Mattew Marks Gallery

 

 

Terry Winters (born 1949, Brooklyn, NY) is an American painter, draughtsman, and printmaker whose nuanced approach to the process of painting has addressed evolving concepts of spatiality and expanded the concerns of abstract art. His attention to the process of painting and investigations into systems and spatial fields explores both non-narrative abstraction and the physicality of modernism. In Winters’ work, abstract processes give way to forms with real word agency that recall mathematical concepts and cybernetics, as well as natural and scientific worlds.

 

Fred Tomaselli. 'Untitled [Datura Leaves]' 1999

 

Fred Tomaselli (American, b. 1956)
Untitled [Datura Leaves]
1999
Leaves, pills, acrylic and resin on wood panel
182.88 x 137.16 cm
© Collection Glenn and Amanda Fuhrman NY, Courtesy the FLAG Art Foundation

 

 

Fred Tomaselli (born in Santa Monica, California, in 1956) is an American artist. He is best known for his highly detailed paintings on wood panels, combining an array of unorthodox materials suspended in a thick layer of clear, epoxy resin.

Tomaselli’s paintings include medicinal herbs, prescription pills and hallucinogenic plants alongside images cut from books and magazines: flowers, birds, butterflies, arms, legs and noses, which are combined into dazzling patterns that spread over the surface of the painting like a beautiful virus or growth. He uses an explosion of colour and combines it with a basis in art history. His style usually involves collage, painting, and/or glazing. He seals the collages in resin after gluing them down and going over them with different varnishes.

“I want people to get lost in the work. I want to seduce people into it and I want people to escape inside the world of the work. In that way the work is pre-Modernist. I throw all of my obsessions and loves into the work, and I try not to be too embarrassed about any of it. I love nature, I love gardening, I love watching birds, and all of that gets into the work. I just try to be true to who I am and make the work I want to see. I don’t have a radical agenda.”

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Tomaselli sees his paintings and their compendium of data as windows into a surreal, hallucinatory universe. “It is my ultimate aim”, he says, “to seduce and transport the viewer in to space of these pictures while simultaneously revealing the mechanics of that seduction.” Tomaselli has also incorporated allegorical figures into his work – in Untitled (Expulsion) (2000), for example, he borrows the Adam and Eve figures from Masaccio’s Expulsion from the Garden of Eden (1426-27), and in Field Guides (2003) he creates his own version of the grim reaper. His figures are described anatomically so that their organs and veins are exposed in the manner of a scientific drawing. He writes that his “inquiry into utopia/dystopia – framed by artifice but motivated by the desire for the real – has turned out to be the primary subject of my work”.

Text from the Wikipedia website

 

Philip Taaffe. 'Rose Triangle' 2008

 

Philip Taaffe (American, b. 1955)
Rose Triangle
2008
Mixed media on canvas
178 x 178 cm
© Collection Raymond Foye, New York

 

 

About the exhibition

In the fifties, US filmmakers Harry Smith and Jordan Belson made animated films that were precursors of the psychedelia and counterculture of the following two decades. Also at this time, painters associated with abstract expressionism in the US (such as Barnett Newman, Ad Reinhardt and Agnes Martin) and European Informalists, such as the Catalans associated with Dau al Set (including Antoni Tàpies and Joan Ponç), became interested in the writings of Swiss psychologist Carl Gustav Jung, oriental philosophies, the great myths and primitive shamanic rites. The cult US filmmaker Kenneth Anger made films that are still considered radical, influenced by the ideas of the well-known English occultist Aleister Crowley, who was also influential in the world of rock. And Forrest Bess, a self-taught, isolated artist, an unusual figure in the American art of the last century, painted symbolic, visionary images of the universal collective subconscious.

In the sixties and seventies, the emergence of counterculture and the hippy movement was accompanied by an upsurge in interest in esoteric matters and alternative spirituality. US writer William S. Burroughs and French artist and writer Brion Gysin, both interested in occultism and mysticism, developed the cut-up method to write texts using collage, actions which, like the origin of art itself, they considered magic. The American musician Sun Ra, one of the jazz world’s most idiosyncratic figures (he claims he was born on Saturn), set up the secret society Thmei Research in Chicago, and was interested in the writings of Armenian philosopher and master mystic Georges Gurdjieff, and the Ukrainian Madame Blavatsky, creator of the esoteric current known as theosophy. Sun Ra’s compositions, with a big band that performed in strange colourful clothing, were highly radical, embracing improvisation and chaos. In Europe, the German artist Joseph Beuys was inspired by the writings and activities of Austrian philosopher Rudolf Steiner, the founder of anthroposophy, as a model to explain his ideas. Beuys called for a return to spirituality and defended art as a vehicle for healing and social change. The French artist Tania Mouraud, interested in introspection and philosophy, with a strong analytical vein, creates installations that are spaces for meditation, and the Catalan artist Zush, in Ibiza, discovers psychedelia and draws fantastic beings connected by vibrant energies.

The eighties and nineties saw the consolidation of a large number of artists who saw artistic practice as something that can facilitate a higher cognitive level. Several American abstract painters, like Terry Winters, Philip Taaffe and Fred Tomaselli, became interested in spiritual themes. Winters, for example, who took scientific images as his inspiration, based a large series of paintings on knot theory, a mathematical concept that might be seen as an emblem of the hermetic. Taaffe, meanwhile, used ornamental forms from different cultures, combining them in complex configurations of an ecstatic nature, and Tomaselli produced compositions using all kinds of drugs in a reference to psychedelia. In Europe, the German sculptor Wolfgang Laib, interested in Zen Buddhism and Taoism, creates sculptures and installations with symbolic images, like stairs and boats, suggesting ascension, travel and inner transformation, while the Italian Gino de Dominicis, who claimed to believe in extra-terrestrials and was obsessed by Sumerian culture and mythology, creates invisible sculptures. The paintings by Italian Francesco Clemente, a representative of the Transavanguardia movement, feature images of an apparently hermetic nature, creating a singular narrative of spiritual symbolism. The Chilean-French artist Alejandro Jodorowsky explores esoteric ideas in his extraordinary films of great visual imagination and also creates highly celebrated comics. In the nineties, several alternative rock bands such as Psychic TV (led by the English musician, poet and artist Genesis P-Orridge) were also interested in occultism and magic.

 

The origin of the title “Black Light”

The title “Black light” refers to a concept of Sufism, the esoteric branch of Islam that teaches a path of connection with divinity leading via inner vision and mystic experience. Sufism, which regards reality as light in differing degrees of intensity, speaks of a whole system of inner visions of colours that mark the spiritual progress of initiates until they become “men and women of light”. The intention is to achieve a state of supra-consciousness that is announced symbolically by this black light.

Press release from the Centre de Cultura Contemporania de Barcelona website

 

Chris Martin. 'If You Don't See It Ask For It' 2016

 

Chris Martin
If You Don’t See It Ask For It
2016
Acrylic and glitter on canvas
195.6 x 152.4 x 4.4 cm
© Courtesy of David Kordansky Gallery, Los Angeles, CA Photography: Brian Forrest

 

Genesis P-Orridge. 'Burns Forever Thee Light' 1986

 

Genesis P-Orridge (British, b. 1950)
Burns Forever Thee Light
1986
Hair, Indian corn, wax, saliva, semen, blood, acrylic paint, flourescent tape, pages from Man Myth & Magic, Polaroids, c-prints, paint pen
20 x 25 inches
© Courtesy of the artist and INVISIBLE-EXPORTS

 

 

Genesis Breyer P-Orridge (born Neil Andrew Megson; 22 February 1950) is an English singer-songwriter, musician, poet, performance artist, and occultist. After rising to notability as the founder of the COUM Transmissions artistic collective and then fronting the industrial band Throbbing Gristle, P-Orridge was a founding member of Thee Temple ov Psychick Youth occult group, and fronted the experimental band Psychic TV. P-Orridge identifies as third gender.[a]

Born in Manchester, P-Orridge developed an early interest in art, occultism, and the avant-garde while at Solihull School. After dropping out of studies at the University of Hull, he moved into a counter-cultural commune in London and adopted Genesis P-Orridge as a nom-de-guerre. On returning to Hull, P-Orridge founded COUM Transmissions with Cosey Fanni Tutti, and in 1973 he relocated to London. COUM’s confrontational performance work, dealing with such subjects as sex work, pornography, serial killers, and occultism, represented a concerted attempt to challenge societal norms and attracted the attention of the national press. COUM’s 1976 Prostitution show at London’s Institute of Contemporary Arts was particularly vilified by tabloids, gaining them the moniker of the “wreckers of civilization.” P-Orridge’s band, Throbbing Gristle, grew out of COUM, and were active from 1975 to 1981 as pioneers in the industrial music genre. In 1981, P-Orridge co-founded Psychic TV, an experimental band that from 1988 onward came under the increasing influence of acid house.

In 1981, P-Orridge co-founded Thee Temple ov Psychick Youth, an informal occult order influenced by chaos magic and experimental music. P-Orridge was often seen as the group’s leader, but rejected that position, and left the group in 1991. Amid the Satanic ritual abuse hysteria, a 1992 Channel 4 documentary accused P-Orridge of sexually abusing children, resulting in a police investigation. P-Orridge was subsequently cleared and Channel 4 retracted their allegation. P-Orridge left the United Kingdom as a result of the incident and settled in New York City. There, P-Orridge married Jacqueline Mary Breyer, later known as Lady Jaye, in 1995, and together they embarked on the Pandrogeny Project, an attempt to unite as a “pandrogyne”, or single entity, through the use of surgical body modification to physically resemble one another. P-Orridge continued with this project of body modification after Lady Jaye’s 2007 death. Although involved in reunions of both Throbbing Gristle and Psychic TV in the 2000s, P-Orridge retired from music to focus on other artistic mediums in 2009. P-Orridge is credited on over 200 releases.

A controversial figure with an anti-establishment stance, P-Orridge has been heavily criticised by the British press and politicians. P-Orridge has been cited as an icon within the avant-garde art scene, accrued a cult following, and been given the moniker of the “Godperson of Industrial Music”.

Text from the Wikipedia website

 

Harry Smith. 'Untitled, October 19, 1951' 1951

 

Harry Smith
Untitled, October 19, 1951
1951
Ink, watercolour, and tempera on paper
86.36 x 69.85 cm
Collection Raymond Foye, New York

 

Agnes Martin. 'Untitled, No. 7' 1997

 

Agnes Martin (1912-2004)
Untitled, No. 7
1997
Acrylic and graphite on canvas
152.4 x 152.4 cm
Collection “la Caixa”. Art Contemporani
© Vegap

 

 

Agnes Bernice Martin (March 22, 1912-December 16, 2004), born in Canada, was an American abstract painter. Her work has been defined as an “essay in discretion on inward-ness and silence”. Although she is often considered or referred to as a minimalist, Martin considered herself an abstract expressionist. She was awarded a National Medal of Arts from the National Endowment for the Arts in 1998. …

Martin praised Mark Rothko for having “reached zero so that nothing could stand in the way of truth”. Following his example Martin also pared down to the most reductive elements to encourage a perception of perfection and to emphasise transcendent reality. Her signature style was defined by an emphasis upon line, grids, and fields of extremely subtle colour. Particularly in her breakthrough years of the early 1960s, she created 6 × 6 foot square canvases that were covered in dense, minute and softly delineated graphite grids. In the 1966 exhibition Systemic Painting at the Solomon R. Guggenheim Museum, Martin’s grids were therefore celebrated as examples of Minimalist art and were hung among works by artists including Sol LeWitt, Robert Ryman, and Donald Judd. While minimalist in form, however, these paintings were quite different in spirit from those of her other minimalist counterparts, retaining small flaws and unmistakable traces of the artist’s hand; she shied away from intellectualism, favouring the personal and spiritual. Her paintings, statements, and influential writings often reflected an interest in Eastern philosophy, especially Taoist. Because of her work’s added spiritual dimension, which became more and more dominant after 1967, she preferred to be classified as an abstract expressionist.

Martin worked only in black, white, and brown before moving to New Mexico. The last painting before she abandoned her career, and left New York in 1967, Trumpet, marked a departure in that the single rectangle evolved into an overall grid of rectangles. In this painting the rectangles were drawn in pencil over uneven washes of gray translucent paint. In 1973, she returned to art making, and produced a portfolio of 30 serigraphs, On a Clear Day. During her time in Taos, she introduced light pastel washes to her grids, colours that shimmered in the changing light. Later, Martin reduced the scale of her signature 72 × 72 square paintings to 60 × 60 inches and shifted her work to use bands of ethereal colour. Another departure was a modification, if not a refinement, of the grid structure, which Martin has used since the late 1950s. In Untitled No. 4 (1994), for example, one viewed the gentle striations of pencil line and primary colour washes of diluted acrylic paint blended with gesso. The lines, which encompassed this painting, were not measured by a ruler, but rather intuitively marked by the artist. In the 1990s, symmetry would often give way to varying widths of horizontal bands.

Text from the Wikipedia website

 

Matías Krahn Uribe. 'Panamor' 2016

 

Matías Krahn Uribe (b. Santiago de Chile, 1972)
Panamor
2016
Canvas and cotton
225 x 225 cm
© Matías Krahn Uribe

 

 

Matías Krahn (b. Santiago de Chile, 1972) Catalan painter born in Chile who lives and works in Barcelona.

His colourful works are a reflection of the world that surrounds him, of a concrete circumstance and environment, but also of the most intimate and subjective. Interested in the balance between the exterior and the interior, it orders the space and the figures it contains. His work, influenced by surrealism, is the mirror of the psyche and the unconscious that expresses itself in infinite forms and tonalities.

 

Francesco Clemente. 'Tarot cards: the High Priestess' 2009-2011

 

Francesco Clemente (Italy, b. 1952)
Tarot cards: the High Priestess
2009-2011
Water colour, gouache, ink, colour pencil
48.2 x 25.4 cm
© Courtesy of the artist

 

 

Francesco Clemente (born 23 March 1952) is an Italian contemporary artist. He has lived at various times in Italy, in India, and in New York City. Some of his work is influenced by the traditional art and culture of India. He has worked in various artistic media including drawing, fresco, graphics, mosaic, oils and sculpture. He was among the principal figures in the Italian Transavanguardia movement of the 1980s, which was characterised by a rejection of Formalism and conceptual art and a return to figurative art and Symbolism.

 

 

Black Light – Secret traditions in art since the 1950s: occultism, magic, esotericism and mysticism

This exhibition analyses the influence that different secret traditions have had on art since the 1950s and today. These are traditions that can be traced back to the very origins of civilisation and that have served at various times to structure philosophical, linguistic, scientific and spiritual ideas.

Despite the importance that these ideas had for the development of 20th century art – being fundamental in the work of key figures of modernity such as Piet Mondrian, Vasili Kandinski, Arnold Schönberg, William Butler Yeats and Fernando Pessoa – it is a tradition that has often been ignored in our time because of the dominant influence of rationalist orthodox thoughts, which are often ignored in our times.

Today, however, many contemporary artists re-explore these themes and are interested in issues as diverse as alchemy, secret societies, theosophy and anthroposophy; the esoteric currents of the great religions; oriental philosophies and magic; psychedelia and the ingestion of drugs; universal symbols and myths; the so-called fourth way of the Armenian mystic Georges Gurdjieff, etc., and, in so doing, generate a renewed interest in these issues that did not exist since the years of counterculture in the 1970s. Authors such as Mircea Eliade, historian of religions and novelist; Carl Gustav Jung, psychologist; Henry Corbin, specialist in Sufism, the esoteric current of Islam; Gershom Scholem, specialist in Kabbalah, the esoteric current of Judaism; and Rudolf Steiner, the founding philosopher of anthroposophy, have now found numerous new readers.

The exhibition will present, more or less chronologically, paintings, drawings, films, sculptures, photographs, installations, books, music and documents by artists as varied as Harry Smith, Jordan Belson, Barnett Newman, Agnes Martin, Ad Reinhardt, Antoni Tàpies, Joan Ponç, Henri Michaux, René Daumal, Forrest Bess, Kenneth Anger, Alejandro Jodor. The work of all of them demonstrates the relevance and continuity of these usually ignored traditions, and in many cases understands art as a possible way to reach a higher cognitive level or as a form of knowledge in itself.

The exhibition will be accompanied by a catalogue with texts by specialists such as Cristina Ricupero, Gary Lachman, Erik Davies and Enrique Juncosa. The proposal will also investigate and reveal occult traditions and their current context in the cultural production of our country.

Text from the Centre de Cultura Contemporania de Barcelona website

 

Irrationality from rationality

Vincenç Villatoro, director of the CCCB, has justified the presence of this exhibition in a centre that defends rational culture, alluding to the fact that much of the artistic production can not be understood without its connection to non-rationalistic traditions: mystical, esoteric, hermetic … and points out that although in the second half of the twentieth century the hegemonic thought was the scientist, there was a sensitive part of society that came to other traditions, especially to give meaning to its life. Villatoro warns the visitor that the exhibition La llum negra is not an encyclopedia on hidden traditions, but neither is it intended to be a defence, nor a refutation. But the exhibition points out that for many creators, art is a way to access a deeper reality, which is difficult to access in other ways. Thus, secret tradition and art are complemented.

Gustau Nerín

 

Forrest Bess. 'Homage to Ryder' 1951

 

Forrest Bess (1911-1977)
Homage to Ryder
1951
Oil on canvas
20.8 × 30.5 cm
© Collection Museum of Contemporary Art Chicago Gift of Mary and Earle Ludgin Collection

 

 

Forrest Bess (October 5, 1911-November 10, 1977) was an American painter and eccentric visionary. He was discovered and promoted by the art dealer Betty Parsons. Throughout his career, Bess admired the work of Albert Pinkham Ryder and Arthur Dove, but the best of his paintings stand alone as truly original works of art. …

He worked as a commercial fisherman, but painted in his spare time. He experienced visions or dreams, which he set down in his paintings. It was during this time he began to exhibit his works, earning one-person shows at museums in San Antonio and Houston. During his most creative period, 1949 through 1967, Betty Parsons arranged six solo exhibitions at her New York City gallery.

Bess was never comfortable for very long around other people, although he hosted frequent visitors to his home and studio at Chinquapin: artists, reporters, and some patrons made the trip to the spit of land on which Bess’s shack stood. He did forge lasting relationships with a few friends and neighbors, and maintained years-long friendships and correspondence with Meyer Schapiro and with Betty Parsons. But ultimately Bess preferred solitude, and his prolific activities as an artist, highlighted by limited notoriety and success, alternated with longs spells of loneliness, depression, and an ever-increasing obsession with his own anatomical manifesto.

In the 1950s, he also began a lifelong correspondence with art professor and author Meyer Schapiro and sexologist John Money. In these and other letters (which were donated to the Smithsonian Archives of American Art), Bess makes it clear that his paintings were only part of a grander theory, based on alchemy, the philosophy of Carl Jung, and the rituals of Australian aborigines, which proposed that becoming a hermaphrodite was the key to immortality. He was never able to win any converts to his theories or validation from the many doctors and psychologists with whom he corresponded. In his own home town of Bay City, he was considered something of a small-town eccentric.

Text from the Wikipedia website

 

Rudolf Steiner. 'Untitled (Blackboard drawing from a lecture held by Rudolf Steiner on 20. 03. 1920)'

 

Rudolf Steiner (1861-1925)
Untitled (Blackboard drawing from a lecture held by Rudolf Steiner on 20. 03. 1920)
1920
Chalk on paper
87 x 124 cm
Rudolf Steiner Archiv, Dornach

 

 

Rudolf Joseph Lorenz Steiner (27 (or 25) February 1861-30 March 1925) was an Austrian philosopher, social reformer, architect and esotericist. Steiner gained initial recognition at the end of the nineteenth century as a literary critic and published philosophical works including The Philosophy of Freedom. At the beginning of the twentieth century he founded an esoteric spiritual movement, anthroposophy, with roots in German idealist philosophy and theosophy; other influences include Goethean science and Rosicrucianism.

In the first, more philosophically oriented phase of this movement, Steiner attempted to find a synthesis between science and spirituality. His philosophical work of these years, which he termed “spiritual science”, sought to apply the clarity of thinking characteristic of Western philosophy to spiritual questions, differentiating this approach from what he considered to be vaguer approaches to mysticism. In a second phase, beginning around 1907, he began working collaboratively in a variety of artistic media, including drama, the movement arts (developing a new artistic form, eurythmy) and architecture, culminating in the building of the Goetheanum, a cultural centre to house all the arts. In the third phase of his work, beginning after World War I, Steiner worked to establish various practical endeavours, including Waldorf education, biodynamic agriculture, and anthroposophical medicine.

Steiner advocated a form of ethical individualism, to which he later brought a more explicitly spiritual approach. He based his epistemology on Johann Wolfgang Goethe’s world view, in which “Thinking… is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas.” A consistent thread that runs from his earliest philosophical phase through his later spiritual orientation is the goal of demonstrating that there are no essential limits to human knowledge.

Text from the Wikipedia website

 

The blackboard drawings are the instructions of a new design language that the artist wants to develop. Steiner believes in the development of a supersensible consciousness, a big change for the future of humanity. He gives many lectures in which he details his research on the concept of transmission and its influence on the social. Whether true or not, artists such as Piet Mondrian, Wassily Kandinsky and others are interested in the complex graphics of Steiner and his research. Mondrian will even write: “Art is a way of development of mankind.” (Text from the Culture Box website translated from French)

 

Adaptive image from the exhibition 'Black light'

Adaptive image from the exhibition 'Black light'

 

Adaptive images from the exhibition Black Light: Secret traditions in art since the 1950s at the Centre de Cultura Contemporania de Barcelona

 

 

Centre de Cultura Contemporania de Barcelona
Montalegre, 5 – 08001 Barcelona
Phone: 93 306 41 00

Opening hours:
Tuesday to Sunday 11.00 – 20.00

Centre de Cultura Contemporania de Barcelona website

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05
Aug
18

Review: ‘Dale Cox: Inner Logic’ at Australian Galleries, Melbourne

Exhibition dates: 24th July – 12th August 2018

 

Dale Cox (b. 1969) 'Usurper Ruminant' 2016

 

Dale Cox (b. 1969)
Usurper Ruminant
2016
Acrylic on gold enamel on board
120cm x 90cm

 

 

Clarion call

The sky is blue, the sun is shining and yet, in this era of the Anthropocene, the Earth is in deep shit. Through the activities of a virus, a contagion that infests the planet…. that is – the ego, the selfishness of the individual human and, collectively, of the human race – “we are perhaps amongst the first to contemplate not just our own finite existence, but the doomed fate of the Earth itself.”

My friend Dale Cox’s exhibition Inner Logic at Australian Galleries dissects this situation in a most intelligent and imaginative manner. Instead of didactic protest, Cox uses the language of Australian pastoral landscape, iconic edifice and stratigraphic cross section to make ironic comment on popular culture, history and religion. As you dissect the various influences and concepts within the work you chuckle to yourself at the artist’s inventiveness and humour.

Mixing the tight style and formal, classical beauty of Australian colonial painting (with reference in particular to the work of John Glover) with the uncanny sense of reality and precision found in the paintings of Jeffrey Smart, Cox twists his realities and points of view. Shopping trolleys have a strange perspective when filled with Australian colonial landscapes; aircraft stairs seem strangely twisted as they lead to a geological cross-section topped with verdant greenery (a journey through time); clouds in the burning landscape look like that of an atomic bomb; an Uluru-like profile of Elvis in the Australian bush is dotted with tents and encampments; and Australian ute’s of unlikely shape sit at the base of a constructed Elvis edifice, the most prominent thing to my mind in the painting being the four air conditioning units at the base of the construction cabin, sitting in an absolutely barren landscape. The perspicacity of Cox’s (re)marks is exemplary.

My favourite works in the exhibition are the Usurper paintings. Here Cox condenses the customs, traditions and rituals of the human race (colonisation, farming, habitation – power, possession, destruction and modification of the environment and its animals) onto the body of the (b)ovine family, the livestock “genetically modified over time through the artificial selection of desirable traits by humans, with a view to increasing the docility of the animals, their size and productivity, their quality as agricultural products, and other culturally desired features,”1 to serve humans who are substantially dependent on their livestock for sustenance and other purposes. These artificial bodies, these illegitimate usurpers, float on a sea of gold enamel and wood grain form.

Cox’s declamations, his inner logic if you like, document in the most inventive way the liturgy of errors of the human race. His work is a clarion call for humans to be better custodians (for that is what we are) of the Earth. Through his subversive paintings, the artist “challenges the myopic tendency for us humans to fixate on ourselves in a way that bodes poorly for our ability to see the bigger picture and act as stewards for the entire planet rather than as self serving, selfish species.” (Email to the author, 28 July 2018). His humors (basic substances which are in balance when a person, or in this case the Earth, is healthy) add to the raised voices against the naysayers of global warming, the backward looking fossil fuel industry, the power of nations and corporations, and the vested interests of the rich and powerful, mainly men. It’s time for the dreamers, the artists, and the spiritual to confront these dinosaurs of the past, so that they may shape the future. So that the human race can cast aside their shadow and learn to walk on the Earth without leaving tracks.

Dr Marcus Bunyan

.
Many thankx to Dale Cox for allowing me to publish the text and the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Shaman

“There are two kinds of people in this world.

There are those who are dreamers and those who are being dreamed.

There comes a time in every mans life when he must encounter his past.

For those that are dreamed, who have no more than a passing acquaintance with power, this moment is usually played out on their death beds as they try to bargain with fait for a few more moments of life time.

But for the dreamer, the person of power, this moment takes place alone, before a fire, when he calls upon the spectres of his personal past to stand before him like witnesses before the court…

I am not speaking of remembering the past. Anyone can remember the past, and in remembering we frame it to serve and justify the present. Remembering is a conscious act and therefore subject to embellishment. Remembering is easy.

The person of power sits alone before the fire and confronts his past. He hears the testimony of these spectres and he dismisses them one by one. He acquits himself of his past. If you comprehend this, the man of power has no past. No history that can claim him. He has cast aside his shadow and learnt to walk in the snow without leaving tracks.”

.
Dr Alberto Villoldo

 

 

Dale Cox (b. 1969) 'Usurper Transplant' 2016

 

Dale Cox (b. 1969)
Usurper Transplant
2016
Acrylic on gold enamel on board
120cm x 90cm

 

Dale Cox (b. 1969) 'Usurper Glover' 2016

 

Dale Cox (b. 1969)
Usurper Glover
2016
Acrylic on gold enamel on board
120cm x 90cm

 

John Glover (England 1767 - Australia 1849, Australia from 1831) 'The River Nile, Van Diemen's Land, from Mr Glover's farm' 1837

 

John Glover (England 1767 – Australia 1849, Australia from 1831)
The River Nile, Van Diemen’s Land, from Mr Glover’s farm
1837
Oil on canvas
76.4 x 114.6 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1956

 

 

John Glover’s colonial landscapes can be divided into two groups: pastoral scenes of the land surrounding his own property, and pre-contact Aboriginal Arcadias. Although the Aboriginal figures are at times generic, they are shown as active participants in the landscape. Such scenes were, however, entirely imagined, as Glover encountered very few Tasmanian Aboriginal people while in the colony. Glover had not experienced the conflict or witnessed the violence between Tasmanian Aboriginal resistance fighters and white settlers during the 1820s. By the time of his arrival in 1831, the Tasmanian Aboriginal survivors had been forced to leave Country and relocate to Flinders Island.

 

Dale Cox (b. 1969) 'Tract 38 (Burning landscape)' 2012

 

Dale Cox (b. 1969)
Tract 38 (Burning landscape)
2012
Acrylic on canvas
102 x 152cm

 

Dale Cox (b. 1969) 'Tract 38 (Burning landscape)' 2012 (detail)

 

Dale Cox (b. 1969)
Tract 38 (Burning landscape) (detail)
2012
Acrylic on canvas
102 x 152cm

 

Dale Cox (b. 1969) 'Flight SQ2118 to Thailand' 2018

 

Dale Cox (b. 1969)
Flight SQ2118 to Thailand
2018
Acrylic on board
81 x 122cm

 

Dale Cox (b. 1969) 'Rewilding II' 2018

 

Dale Cox (b. 1969)
Rewilding II
2018
Acrylic on board
81 x 122cm

 

Dale Cox (b. 1969) 'Anticolonial' 2018

 

Dale Cox (b. 1969)
Anticolonial
2018
Acrylic on board
81 x 122cm

 

 

Inner Logic 2018

The motifs and elements in this exhibition are all related to our human predicament; to this era of the Anthropocene and our unique capacity amongst living things to contemplate our own mortality. While we have grappled with our impermanence for thousands of years, we are perhaps amongst the first to contemplate not just our own finite existence, but the doomed fate of the Earth itself. A kind of double death.

It’s a lot to take on board.

Perhaps, unsurprisingly, we are well practiced at diversion, denial and a kind of wishful thinking when it comes to our fate. Religion has served us rather well as a kind of ‘soft landing’ into the unknown; furnishing us cradle to grave with a reassuring framework towards a life after death.

It is an intoxicating idea that when we die we go elsewhere. Anything but death seems like a plan. Indeed, many opine that a belief in an afterlife is essential to the very fabric of humanity, that our lives would be meaningless if it simply ended. Perhaps there is an inner logic to this: Is there a point to a life that simply ends?

Our aversion to annihilation runs deep, and in light of some fairly compelling arguments that it is so, humanity is slow to accept the deal. And now that we are facing mounting evidence that we are hurtling towards an environmental collapse of our own making, it seems the all too human ability to simply avert our gaze is once again at play. Desperate times call for desperate measures in collective denial, and so it seems we enter the post-truth era.

There are myriad ways in which we pull off this practised art of self-delusion. Central to it is our unerring fascination with ourselves, our own species. ‘Anthropocentricity’ has served us for millennia as an essential tool of survival by strengthening our ties as family units, tribes, villages and, by extension, nations. The gods we created invariably took a patriarchal form, and we still cling to these heroic manifestations of our own image.

Even our innate altruism appears limited to all things ‘us’. We seem ill-equipped as stewards of the planet of being capable of seeing the bigger picture, of accommodating the survival of all species. All animals are necessarily hardwired to fixate on their own collective survival at the expense of other species, but it is humans alone who can progress that exclusivity to global obliteration.

I generalise, of course. Many manage to stare reality squarely in the face, and many more understand the importance of the broader environment. And it will get harder to remain wilfully ignorant, as the ecological collapse is well underway, overtaking even the gloomiest of predictive models. It is in plain sight and will only become harder to ignore.

The environmental problems we face appear too colossal for individuals to consider; it all seems too overwhelming, too daunting. These are not ‘human-sized’ problems after all. But if we can apply the same collective fervour and inventiveness we applied to bettering our human lot, if we can find a global will to turn our remarkable capacity for enterprise in science, technology and innovation to repairing the planet as a whole, we may have just cause for hope.

Dale Cox

 

Dale Cox (b. 1969) 'The Bungle Bungles' 2018

 

Dale Cox (b. 1969)
The Bungle Bungles
2018
Acrylic on board
122 x 244cm

 

Dale Cox (b. 1969) 'Always on my mind' 2018

 

Dale Cox (b. 1969)
Always on my mind
2018
Acrylic on board
101 x 244cm

 

 

Anthropocene definition

Relating to or denoting the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment.

Evolutionary psychology definition

Evolutionary psychology is a theoretical approach to psychology that attempts to explain useful mental and psychological traits – such as memory, perception, or language – as adaptations, i.e., as the functional products of natural selection.

The purpose of this approach is to bring the functional way of thinking about biological mechanisms such as the immune system into the field of psychology, and to approach psychological mechanisms in a similar way.

In short, evolutionary psychology is focused on how evolution has shaped the mind and behaviour. Though applicable to any organism with a nervous system, most research in evolutionary psychology focuses on humans. (Text from the Science Daily website)

Evolutionary psychologists argue that much of human behaviour is the output of psychological adaptations that evolved to solve recurrent problems in human ancestral environments…

Evolutionary psychologists hold that behaviours or traits that occur universally in all cultures are good candidates for evolutionary adaptations including the abilities to infer others’ emotions, discern kin from non-kin, identify and prefer healthier mates, and cooperate with others. (Text from the Wikipedia website)

Tract definition

A short piece of writing, especially on a religious or political subject, that is intended to influence other people’s opinions; a large area of land; a major passage in the body, large bundle of nerve fibres, or other continuous elongated anatomical structure or region.

Usurper definition

A usurper is an illegitimate or controversial claimant to power, often but not always in a monarchy. In other words, a person who takes the power of a country, city, or established region for themselves without any formal or legal right to claim it as their own. Usurpers are both those who overtake a region by often unexpected physical force, as well as individuals or organisations who overtake a region through political influence and subterfuge – though the word “usurper” denotes a single person; either an individual who acted alone, or the leader of a group which supported their controversial claim.

 

Dale Cox (b. 1969) 'Untitled (Lunar lander of wood)' 2012

 

Dale Cox (b. 1969)
Untitled (Lunar lander of wood)
2012
Acrylic on board
51 x 77cm

 

Dale Cox (b. 1969) 'Cold War Reliquary' 2014

Dale Cox (b. 1969) 'Cold War Reliquary' 2014

Dale Cox (b. 1969) 'Cold War Reliquary' 2014

Dale Cox (b. 1969) 'Cold War Reliquary' 2014

 

Dale Cox (b. 1969)
Cold War Reliquary
2014
Mixed media Wood acrylics gold enamel metal rock glass
Dimensions variable
Created for the Blake Prize

 

 

Cold War Reliquary 2015-16

A reliquary (also referred to as a shrine or by the French term châsse) is a container for relics. These may be the purported physical remains of saints, such as bones, pieces of clothing, or some object associated with saints or other religious figures. (Wikipedia definition)

.
My sculpture is a vessel- a craft, a portal, a reliquary. Like many Religious objects its serves as a nexus, a transport between Earth and Heaven. The Apollo Lunar Module carried the first Human to the Moon landing on July 20 1969. I was 3 months old. Russia had landed an unmanned craft safely on the moon ten years earlier. The ‘Space Race’ was chiefly an assertion of Ideological superiority between Communism and Capitalism, and the most symbolic battlefield of the ‘Cold War’.

I have long thought of mans tentative forays into space as a kind of membrane piercing journey into the Spiritual – the body released of its Earthly mass and transcended into the Heavens. The reference to a Religious Relic and object of Art – a reliquary for the precious moon rock it houses within the glass dome, elevates a Mechanical Machine to the status of a Religious Relic and is intended to supplant and parody the Christian Canon that asserts our ascension to Heaven (or Hell) upon death.

The essential role of Science as the facilitator of Space Exploration is significant, and as such the Spacecraft itself is venerated here as a Religious object.

The use of Quasi Religious painted panels directly references early Christian Art, whilst most of the Latin Inscriptions are direct translations of NASA Radio Transcripts between (Earth) Base Command and the Astronauts during the critical stages of the Moon landing, and the first historic moments upon landing. Buzz Aldrins remark as he first set foot on the moon was “Beautiful, beautiful. Magnificent desolation.” In Latin Magnificus in desertum.

Dale Cox

 

 

 

Cold War Reliquary

The Cold War Reliquary is a vessel – a spacecraft, and a Holy Relic. Like many Religious objects, it serves as a nexus, a transport between Earth and Heaven.
I have long thought of man’s forays into space as a kind of membrane piercing journey into the Spiritual – the body released of its Earthly mass and transcended into the Heavens. This reliquary for the precious moon rock it houses within a glass dome, elevates a Mechanical Machine to the status of a Religious Relic and playfully parodies the Space Race as the era in which Science finally transcended Religion.

 

Inner Logic continues Dale Cox’s insightful and evocative explorations into environmental, spiritual and anthropological themes; investigating the impact of humankind on this planet and our collective search for meaning.

“The motifs and elements within the current exhibition of my paintings all are in some way or another related to our human predicament and this era of the anthropocene and our unique capacity amongst living things to contemplate our own mortality,” says Cox, “We humans have been grappling with our own mortality for thousands of years. Are we today, however amongst the first generations to contemplate not just our own finite existence, but also the doomed fate of the Earth itself? A kind of double death…”

Inner Logic presents a dynamic series of recent paintings in Dale Cox’s highly distinctive visual language, in which elements from the natural world and icons from popular, religious, industrial and historical culture are assembled in precarious, yet harmonious balance upon a backdrop of the vast unknown. Meticulously executed in acrylic paint, these works are visually intricate and conceptually dense, yet the clarity and significance of their message resonates with immediacy and power.

Dale Cox is equally proficient in sculpture as he is in painting and works across a wide range of media. This exhibition presents the artist’s compelling Cold War Reliquary (Finalist in the 64th Blake Prize); a magnificent recreation of the Lunar Lander spacecraft realised as a gilded religious receptacle, “My sculpture is a vessel – a spacecraft, a portal, a reliquary. Like many religious objects its serves as a nexus, a transport between Earth and Heaven. I have long thought of man’s forays into space as a kind of membrane piercing journey into the spiritual – the body released of its Earthly mass and transcended into the Heavens. This reliquary for the precious moon rock it houses within a glass dome, elevates a Mechanical Machine to the status of a Religious Relic and playfully parodies and challenges the Christian Church.” Dale Cox, 2018

Press release from Australian Galleries

 

Dale Cox (b. 1969) 'Art Mart' 2018

 

Dale Cox (b. 1969)
Art Mart
2018
Acrylic on board
120 x 89cm

 

Dale Cox (b. 1969) 'Albert' 2018

 

Dale Cox (b. 1969)
Albert
2018
Acrylic on board
160 x 122cm

 

Dale Cox (b. 1969) 'The wonder of you' 2018

 

Dale Cox (b. 1969)
The wonder of you
2018
Acrylic on board
120 x 90cm

 

Dale Cox (b. 1969) 'The wonder of you' 2018 (detail)

 

Dale Cox (b. 1969)
The wonder of you (detail)
2018
Acrylic on board
120 x 90cm

 

 

Australian Galleries
35 Derby Street,
Collingwood 3066
Phone: +61 3 9417 4303

Opening hours:
Open 7 days 10am to 6pm

Australian Galleries website

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08
Dec
17

In conversation: Marcus Bunyan and Elizabeth Gertsakis discuss his new work, ‘The Shape of Dreams’ (2013 – 2017)

December 2017

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

 

Marcus Bunyan
Untitled from the series The Shape of Dreams 
2013 – 2017
Silver gelatin print
© Marcus Bunyan

 

 

In conversation

EG: Just saw your most recent Art Blart and your work. It’s very beautiful. Congratulations. At first I didn’t know whose they were. Then I went through them one by one, and only after responding to them ‘unknown’ I saw it was your work. SO BEAUTIFUL, so potent and yet, within the ambivalence and questioning there was space for great stillness and contemplation. Powerful and so poetic. The one of the children, close up is dazzling, but so are the open fields, mountains, roadways and minute images of flight.

MB: Thank you so much Elizabeth. Yes, my work would you believe. I can now believe after 4 years hard work. A poem to the uncertainty of human dreams. It’s a conceptual series in the vein of my hero Minor White – contemplative, poetic as always with me, but with an edge under the poetry as you so correctly observe EG – you are caught in the dream in the end image, suspended in time and space, in your imagination. You are always so spot on with your observations.

EG: Your own tendency is also closely linked to language and ideas?

MB: This is very true. The basis for all my work is body, time, space, environment and their link to language and ideas… and how conceptual work can be spiritual as well.

EG: I’m with you on that one, and political as well.

MB: Indeed – all my work, including this series, is very anti-war.

EG: What is unseen, invisible in these images is definitely the dark quiet hole of hell that war is. Or at least those that invest in it.

MB: The key image in this regard is the one of the explosion.

EG: But the ones of the distant and misdirected aerial machines also…

MB: Indeed, and the second one, where all the men are looking away while the cloud expands in the background.

EG: Yes, the casual indifference and banality of it.

MB: You have it perfectly Elizabeth!

EG: But the children, oh those children, and the innocent implacability of the natural world.

MB: To find these images on Ebay and then spend four years of my life cleaning and saving them was an incredible experience. It was almost like I was breathing these images as I was saving them, looking into each one and being immersed in them. Thus, the art demands contemplation from the viewer in order to begin to understand its resonances.

.
Many thankx to Elizabeth Gertsakis for her wisdom, knowledge, friendship and advice throughout the year. These observations of my work mean a great deal to me.

SEE THE FULL SEQUENCE INCLUDING SIZE AND SPACING OF IMAGES (ENLARGE AND USE SCROLL BAR)

SEE THE FULL IMAGES

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

 

Marcus Bunyan
Untitled from the series The Shape of Dreams
2013 – 2017
Silver gelatin print
© Marcus Bunyan

 

 

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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