A Book of Staves
Icelandic folk magic and magical texts combine as sources and inspiration for this otherworldly series of visual ‘spells’ by artist Jesse Bransford, Department Chair of the Art Faculty at New York University. Small in scale and abstract, these watercolours describe the natural world as the artist experienced it in his travels in the Icelandic landscape; the works are spiritual aspirations as expressed through his art.
Published here for the first time is the artist’s personal selection of those spells most binding, offered with transcriptions from ‘The Sayings of the High One’ in the Hávamál, a statement from the artist and an introduction from Dr Robert Wallis.
Publication date: April 21st, 2018
LAUNCH PARTY AND EXHIBITION
April 21st, 2018, 6-9pm
Ortega y Gasset Projects
363 3rd Avenue
Brooklyn, New York 11215
Enchanted Modernities: Theosophy, the Arts and the American West
Sarah V. Turner, James Mansell and Christopher Sheer, editors
It is in America that the transformation will take place, and has already silently commenced – MADAME BLAVATSKY
With these words, written in The Secret Doctrine in 1888, Helena Blavatsky drew a direct connection to the dynamic energy of nineteenth-century Americanism and the Theosophical Society. She and her successors would specify the American West as the site for a rebirth and re-enchantment of humanity, drawing those seeking spiritual fulfilment outside of organized religion to the dramatic landscapes of California, Arizona, Utah, and New Mexico. The syncretic nature of Theosophy encouraged individualism in belief, fitting well the popular notions of freedom and personal agency used to characterize the American West.
In 2014, the Nora Eccles Harrison Museum at Utah State University staged the first exhibition to explore artistic responses to the confluence of enchanted thought in the American West in the early twentieth century. Building on this research, Enchanted Modernities: Theosophy, the Arts and the American West will be the first publication devoted to these relationships in art and music. Through a series of interlocked contextual essays, interviews, and interpretations of individual works by the exhibition’s curators and invited scholars, this publication will explore the role of Theosophical thought in fostering dynamic cultural networks in the region that redefine the relationship between enchantment and modernism.
PUBLICATION DUE: Summer, 2018
Visions of Enchantment: Occultism, Magic and Visual Culture
Daniel Zamani, Judith Noble, editors
Select Papers from the University of Cambridge Conference, March 2014.
Contributions include: Christiane Gruber: “‘Go Wherever You Wish, for Verily You are Well Protected’: Seal Designs in Late Ottoman Amulet Scrolls and Prayer Books”; Antje Bosselmann-Ruickbie: “Protection Against Evil in Byzantium: Magical Amulets from the Early to the Late Byzantine Period”; Lyle Dechant: “Nudity, Privacy, and the Female Body: Another Look at the Leipzig Love Magic Panel”; Deanna Petherbridge: “Leaky Vessels and Devil’s Dugs”; Antoine Faivre: “Visual art in Christian theosophy: Engravings in Jacob Boehme’s Works (1682) and in the 18th century”; Nikola Piperkov: “Mercury, Venus and Alchemy in Rudolfian Prague: The Variations of Bartholomaeus Spranger on Correggio’s Education of Eros”; E. Warlick: “Women and Alchemy: The Rewards and Pitfalls of a Feminist Approach”; Nathan J. Timpano: “The angel, the mermaid, and the ouroborous: Franz von Stuck and the iconography of alchemy”; Leo Ruickbie: “The Devil’s Livery: The Role of Nudity in the Depiction of Witchcraft, Wicca and Satanism”; Victoria Ferentinou: “A Witch in Search of Myth: Enchanted Visions of Female Transgression and Empowerment in the Oeuvre of Leonora Carrington”; Judith Noble: “The Wedding of Light and Matter – Alchemy and Magic in the Films of Derek Jarman”.
PUBLICATION DUE: Summer 2018