HEBREWS 10

Logos Ruckenfigur

23 Let us hold fast the confession of our hope without wavering, for he who promised is faithful; 24 and let us consider how to stir up one another to love and good works, 25 not neglecting to meet together, as is the habit of some, but encouraging one another, and all the more as you see the Day drawing near.” RSV

I think about this passage more than might be supposed, often garbled in my mind as it is. I had to look it up to get the right phrasing. I grew up in a congregation of believers and, without sentimentalizing it, I have not forgotten the benefits that this closeness offers.

I contemplate Steiner in the light of this passage: a fierce individual alone, alone with God, and seeking constantly to make the connections necessary for the future.

For me I think it is the fact that I have some basic character flaws, probably not uncommon but isolating none the less, contrasted with a disdain for the inauthentic which basically makes me a hypocrite at some level. To accept the fallen nature of humanity and the fallen in myself: I am constantly at war with this. What makes us free also makes us susceptible to corruption, so much so that we are born along to either reject freedom or accept corruption in our midst.

I have noticed a great increase in visibility of Anthroposophical art on the internet since I first started looking, while taking note of the debate over what this means. I am a part of this, but I am a flawed part. Then there is also the question that has to be posited: “Is the platform itself not flawed. Still, we are in the realm of freedom?” Freedom implies the possibility of failure. Of course it also embraces the possibility and the fierce conviction that we will overcome. The first obstacle is ourselves. Then there are the temptors and they are everywhere.

Demon Court

I invite the possibility of rejection taking the chance that I might make some essential connection, and make up somehow for the sin that cannot be forgiven after we have encountered the truth.

“26 For if we sin deliberately after receiving the knowledge of the truth, there no longer remains a sacrifice for sins, 
27 but a fearful prospect of judgment, and a fury of fire which will consume the adversaries. “
Crucifix Dance
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Dialogue

This entry is to report that I have found the document that I lost entitled Dialogue. It was lost in my files and I did not know what to search for. There is much editing needed but I have decided to post it as installments. Originally it was to be Student/Teacher. I reconsidered this approach. My final decision was to simply list myself as S and the art and art history student as E, the first letter of our names. There is discussion about many topics, not all specifically Anthropsophical and not always about art. I thought the contrasting esoteric perspectives might be of interest. It can be accessed above or here by clicking: Dialogue.

Alkaline Glaze

Alkaline Glaze

A traditional alkaline glaze is made from limestone and or ashes (which contains alkaline salts including calcium), clay, and sand or crushed glass. Clay is an Alumina silicate, Al2O3 2SiO2 2H2O.  The green color comes from iron in an oxygen starved, or reduction atmosphere during the firing process. I thought it might be interesting to look at an example of this in the context of a quote from Steiner from his Agricultural lectures:

“Lime is Generalized Outer desire. Silica is Generalized outer Perception. Clay mediates between them. Clay is closer to silica but mediates towards lime.”

Seven Arts Parabola

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When French eurythmist, Gabrielle Armenier recently visited UTRGV she gave a presentation to 2 of my classes and  helped generate discussion. Our particular task during her visit was to discus and demonstrate the relationship between sculpture and eurythmy. In my 3D Design class she drew the above diagram on our classroom blackboard. Durring this discussion, the question was generated: “What is Social Art?” Using this diagram helped, if not ultimately clarify , give a starting point for understanding the art of the future.

Festiba UTRGV Visiting Artist: GABRIELLE ARMENIER.

 

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French eurythmist Gabrielle Armenier trained in ballet and modern dance before undertaking the four-year full-time eurythmy training in Spring Valley, NY. She holds a Bachelor in Eurythmy Pedagogy from the Den Norske Eurythmihoyskole, Oslo (2013) and a Masters in Eurythmy Pedagogy from the Freie Hochschule Stuttgart (2014).

Events surrounding the visiting Artist: GABRIELLE ARMENIER:

She visited the Edinberg UTRGV campus Tuesday, Feruary 27, 2017, 12:30 at the art building on Closner Rd.

February 28 – March 2 2017 she visited the Brownsville UTRGV campus

March 2, 2017, 7:30, Thursday night at the TSC Arts Center in Brownsville TX, Stephen Hawks joined visiting artist, Gabrielle Armenier on stage , discussing the relationship between Eurythmy and sculpture.

Architecture Steiner

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“Every building deprives a portion of the earth of sun, wind and rain and probably plant and animal life as well. It must redeem this sacrifice by the healing quality of its architecture.”

-Rudolf Steiner

I was looking for new projects for my 3D Design class and came across this site: http://architecturesteiner.com/ I liked the quote from their home page so I reproduced it above.

 

Wharton Esherick

There are sometimes long periods between my posts. This time it has been unusually long. However, as I have returned to Brownsville and  visiting the libraries here and preparing for classes, I came across a very good book:
Wharton Esherick: The Journey of a Creative Mind
By Mansfield Bascom
Publisher Harry N. Abrams, 2010
ISBN 0810995751, 9780810995758
Length 276 pages

I have been moderately aware of Wharton Esherick’s work and have come across it on several occasions. Without reading or knowing much about his work, other than an article I clipped and saved years ago, I thought to myself how he had some stylistic characteristics in his work that reminded me of other artists influenced by Rudolf Steiner and the impulses coming from Anthroposophical art. This could be said of many 20th century artists that only ever encountered these indirectly. I was not sure which was true about Esherick. Recently I found his biography, written upon request by his son-in-law, Mansfield Bascom, in The UTRGV library in Brownsville. 6 pages in the Book briefly reference Steiner in several places indicating that he had been influenced by Steiner. Apparently from the writing it was a direct influence not so much from Steiner’s verbal teachings, but from the artistic expressions, Eurythmy, the architectural and sculptural forms, and specifically the Group sculpture.

Here is yet another 20th artist, a modernist, and an American, that can be linked to the influences of Anthroposophy, with some obvious innate affinity, even if it is not an affinity with Steiner’s occult teachings. In a way, this is paradoxical, because art is often the most occult of teachers or teachings. I have noticed this is often the case and it goes along with what Steiner has said on occasion. One does not make converts by forcing ideas on those who have already long been on a distinctive path of their own. Athroposophy from the beginnings has mingled with other paths. The Bauhaus is a prime example where Anthroposophy has an influence but is not the only influence at work. It is important to remember that Steiner stated it matters most that art express the spirit and that specific style was less important.

Wharton Esherick Museum