At the Threshold of Consciousness

Threshold of Consciousness

This Exhipit is comprised of Paintings, Drawings, Ceramic sculptures, pottery, and installation.

Description of Instalation:

Elegy for An American Dream, Installation 2021-2023:

• American Dream Totem, Ceramic
• Altar, Wood
• Chalk Drawing on Black Paper
• Jacob and Boaz Candle Holders, Ceramic
• Chalk on Black Paper
• Worn Braided Rug by Catherine Hawks (artist’s mother), Hand and machine sewn, braided cloth

The installation is somewhat based on a dream I had at least 2 decades ago. It is an altar and a hearth with a totemic work incorporating the 4 seraphic beings as well as a coyote, an American trickster being, standing in for Anubis, a spirit guide. This is flanked by 2 candle holders with candles, referencing the 2 candles in Masonic Temples, Jacob and Boaz, They are entwined by 2 monsters as described in Revelation rising up from the land and water, representing the temptations of mind and body, the physical and the sensual, Lucifer and Ahriman (The Persian name for Satan). Written on the altar are the words “That Good May Become”, a quote from Rudolf Steiner’s Foundation Stone Meditation. There is a braided rug made by my mother in front of the altar, that personalizes the piece and reiterates the idea of hearth and home. Behind the piece is a large chalk drawing on black paper of a minimalist representation of an American gothic country church floating in the stars with the tunnel of light from near death experiences above and to the right. Beside this are 4 ceramic platters, 2 on either side, with images of the seraphic beings again, also historically referred to as the 4 evangels representing Mathew, Mark, Luke, and John.

It is, as all altars, indicative of a gateway to the spirit world. It is called an Elegy because it is meant to evoke an experience of great loss (but also potential) in the face of great temptations placed before America at the threshold of consciousness, in the wake of any unifying spirituality or culture, whether Indigenous, European, or otherwise. There is also intended, an echo of the Great Awakening of the late 19th century within the work.

Logos Empiricus

I am preparing for a local exhibit This month, opening April 20, 2018, at Artivivo Art Studio Owned by Teodoro Estrada in Brownsville TX. There will be Pottery Sculpture and 2D works:

“You are cordially invited to view the work of Stephen Hawks, “Logos Empiricus” at Artevivo Art Studio on Friday April 20, 2018. Exhibit reception from 6 – 9pm. Artevivo Art Studio is located at 535 E 12 between Washington and Elizabeth.” The exhibit may be viewed by appointment throughout the rest of the month.

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

Considering Joseph Beuys

How to Explain Pictures to a Dead Hare

My interest in the work of Joseph Beuys runs parallel to my introduction to many of the people active in the American Arts section of the Anthroposophical Society in America, early in this century. While attending grad school, I made Beuys the topic of one of my art history term papers. I sent the paper to someone in the arts section and was understandably rebuked for not having researched properly,  among other things. I had not had access to or time to read what had been written about Beuys from within the Anthroposophical movement except minimally.  It was also inferred that my own artistic endeavors involving the manifestation of Anthroposophy was more important than my weak critical analysis. This too was right, which I tried to do, in my small way, in the thesis work I produced at the time.

Never the less, I think it might be of interest to some, especially those unfamiliar with the esoteric roots of Beuys work. It may serve as a basic introduction, pointing out, but with limited esoteric content.

For any that might question my closing assessment of Beuys work in this paper and to avoid misunderstanding in general, It is not meant as a condemnation but as an empathetic gesture; I owe Beuys a lot; If the artistic path is not a path to freedom, then what is it?

Here is the link:

Esoteric Foundations of Joseph Beuys’ Art in the Teachings of Rudolf Steiner

Note: The above file is compiled from scanned pages, due to my poor typing skills and for the sake of expediency.  Consequently, paradoxically and unfortunately, I was unable to edit out the typos and the grading marks.

Finished Tile Mural

I finally finished the 2nd tile mural in a series on Metamorphosis of form. The first was called Toward Metamorphic Apotheosis. In some ways I think this one is better. 

 

Hilma af Klint

I have decided to retire the Hilma af Klint page for a while for various reasons until I can adequately access the works and make sure the images are in the public domain. Until then here is a link to the Google search for her work: Hilma af Klint.

Svanen – Hilma af Klint

HILMA AF KLINT Previous Image Next Image 02 / 09 The Ten Largest, No. 3 Youth, Group IV, 1907 Hilma af Klint

exhibition: ‘hilma af klint – artist, researcher, medium’ at moderna museet malmö

2011 Summer Conference in Hudson NY

http://www.youtube.com/watch?v=bT4O2zezxD8  Daniel Wall Playing the Banjo.

Statement of Purpose

     Welcome to Art and Anthroposophy. I am beginning this as an ongoing project for the purpose of presenting Anthroposophical art, Anthroposophical topics in art, and discussing, viewing, and creating art from an Anthroposophical perspective. This will include philosophical, spiritual, and material topics, with indications and examples of theory and practice, as well as images of artists’ work. I also intend to include Anthroposophical art in historical context.

    One area I would like to include, that I hope will be of use, is information and resources for materials, processes, and techniques, In other words, the realm of artistic practice.

     Another important intended purpose of this site is to give artists interested in the ideas of Rudolf Steiner, in art as a spiritual practice, or in art from a spiritual perspective, suggested resources and inspiration.

     Relevant suggestions, links, images, and articles are welcome. Please pass this site on and consider contributing to make this site better!

Contact me directly at: hawksstephen@gmail.com

My work may be viewed at: http://gshawks.wordpress.com/

Thanks,

Stephen Hawks