World Economy, Rights, and the Cultural Sphere

Lecture Series On World Economy

I am reading Steiner’s lecture series on World Economy. It has been important to me to understand the three ideal ordering spheres of contemporary society in order to better understand the role of the cultural sphere, which art is a part of. It takes a long time for me to let things sink in. Within the cultural sphere, I participate in education, the arts and science in my own small way.

I want to understand the interrelationship of the 3 spheres of human activity. One of the reasons I took up teaching was to to try to free myself economically so that my art would not depend so much on sales, that and the feeling that I finally had something to teach that might benefit my students. I also felt I could now reenter the world as it is. Working in a historic village for 19 years hid the truth that my heart, soul and mind were modern and contemporary, despite the apparent anachronisms in my work.

I am not apolitical but politics and the realm of rights is not my main focus, though I am involved to some extent, and cannot help but be aware of current political issues. I see much of the art that is critically acceptable today as overlapping into economics and the realm of rights and politics. I am uneasy with art not playing, primarily a cultural and ultimately spiritual role in human development. However, I celebrate the present eclecticism and range of contemporary art.

I have done a few political pieces in the past. One was recently accepted into a juried exhibit.

 

 

 

 

 

 

 

 

“Make America Great Again”, Political Jug with All-Seeing Eye, 8 inches X 5 inches, ceramic, cone 6, gas fired, reduction stoneware, with local mesquite ash glaze and low fire decals, 2018

Here is my explanation of the piece:

“I teach in a contemporary university but have a background and reputation as a traditional potter, versed in Americana. When I was doing this piece I was thinking of our present political climate, rampant conspiracy theories reaching into the occult foundations of democracy in Free Masonry, but also of the traditions and pugilistic nature of our politics of the past, where liquor bought votes at the polling booths, and fights often broke out. Then there is the history of the all-seeing eye which includes imagery from pre-Columbian indigenous cultures, including the southeast where I am from.

So much is backwards from what we might wish for our struggling democracy. What does it really mean to be ‘great’, as opposed to the least common denominator present in clichés that, if not devoid of meaning, are merely synonymous with ‘power’ which was never really what made, or makes America great. It is also a little bit of a joke”

 

 

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.

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

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