tethering art to truth – 2017

Hemera Foundation Fellowships

The Hemera Foundation has announced that applications for 2017 Tending Space Fellowships are now open at many of its partner retreat centers.

For more information see this page: fellowships for contemplative artists
and/or visit the website: hemera.org

Tending Space Fellowships are available for full-time artists with a sincere desire for the experiences of extended meditation practice to inform and influence their creative expression in the world. Up to 250 fellowships will be awarded annually on a first-come first-served basis.

Fellows will be provided with financial support to attend one meditation retreat per year at one of our partner retreat centers. (For a list of centers see the fellowships for contemplative artists page.)

Note that this year applicants will apply directly to the center holding the retreat they would like to attend. Artists who have never attended a residential meditation retreat longer than a weekend will be provided with 100% funding for the retreat of their choice. Artists who have attended at least one meditation retreat longer than a weekend will be offered 50% funding, with need-based support available beyond that. The program is open to domestic and international applicants, as well as groups of artists.

We believe that art has the capacity to genuinely help our world, to instill it with sanity, awareness, joy, and beauty. This does not mean that art has to look a certain way or achieve a standard aesthetic or tone, nor is it an endorsement of a “love and light” approach to art. It does mean that art needs to be tethered to truth, according to the logic of the process undertaken or the piece being created.

How does one cultivate this tether to truth? Our inspiration has been through slowing down, making friends with oneself through meditation and contemplation, spending the time to develop one’s craft, know one’s materials, and fine-tune the senses as tools for communication. Most of all, we are interested in supporting artists in genuinely finding their way.


– Text and graphic sourced from the Hemera Foundation website, April 2017


fellowships for contemplative artists


 

expressing primordial beauty

Nathalie Delay and her work were featured recently on the Science and Nonduality website in an article she wrote called Getting Closer to Truth Through Art. It’s a delight to feature her work at the awakened eye artisans’ gallery, and here’s a taster of what you can read on her page.


Artists have to talk about beauty; that’s their role. Only an artist can allow herself to act for nothing, for no reason other than the beauty of the act, of the moment. A drawing has no use in the final scheme of things, and that’s what is touching: this absolute needlessness, a time spent only in the service of beauty as a tiny offering to the great beauty of reality, to its limitless and unequaled wealth. The act of creation is the celebration of the moment, of living, and of everything which goes beyond the need to possess and rule.

 

The Awakened Eye: art by Nathalie Delay 3

 

The title of the series The light behind objects is an invitation to question the nature of the light which gives form to things. Without light the object does not exist. Without the object’s help I cannot perceive light. I cannot look at sunlight directly or it blinds and burns me. The original light is one, and is revealed in the many. Consequently it is important to find a way of seeing which is not limited to the manifold aspect, an apprehension which is less avid for an object to grasp, remains open and receptive, and which dares to allow form and that which underlies it to reveal themselves in their own time; a gaze which takes the time to go from a simple surface vision to a deeper, more internal one. There, the ultimate details, the best-hidden and the most mysterious ones, reveal themselves soundlessly, wordlessly. One can discover that matter is not quite so material and dense as we had thought. It is woven of light.

Nathalie Delay


artisans

artisans’ gallery

yoga art


 

the zen of camerawork

Gratitude to Roy Money for his thoughtful offer to share his article Minor White and the Quest for Spirit here, knowing it would be of great interest to readers of this site, and also to Christine Cote, editor and publisher of Still Point Arts Quarterly where the article first appeared. This post is a teaser – you’ll have to click through to the page to read the whole article and view more of White’s photographs. You will not be disappointed!
 

Minor White - Empty Head, 1962

 

Minor White was one of the most influential photographers of the 20th century and he generated considerable controversy in his last years for the promotion of spirituality. I met him early in my introduction to photography and admired his work. I recently renewed my interest in him because of a developing involvement in Zen practice and efforts to explore spirituality in relation to my own photographs.

Minor was not only an important artist but also a teacher, editor and curator, and his language of spirit and spirituality came at a time when it had declining credibility in the art world. Though this language had a certain resonance within the wider cultural scene of the sixties it was an early and continuing theme for White that was no doubt stimulated by the challenge of living as a homosexual in an era before gay rights. Spirituality has long been associated with finding relief from the misfortunes and injustices of the social world, as well as finding purpose in the midst of uncertainty and doubt. Of course spirituality has also been an ageless source of inspiration for artists exploring the uncharted domains of human awareness and creativity.

Many people are unaware of the importance of spiritual and metaphysical issues in the development of modernist art. Indeed there was a reluctance of many artists to talk about this, for fear it would be misunderstood. Picasso is credited with saying “Something sacred, that’s it… We can’t say that… people would put a wrong interpretation on it. And yet it’s the nearest we can get to the truth.” (Lipsey) In that sense Minor White’s concern with spirituality was mostly notable because of ways he made an issue of it. […]

– Roy Money, Minor White and the Quest for Spirit

Continue reading …


Image: Photograph by Minor White, Empty Head, 1962
Sourced from the public domain.


Related pages and posts on this site:

John Daido Loori – let your subject find you

Minor White – equivalence: the perennial trend

Deborah Barlow – the daylighting has begun

Roy Money at the artisans’ gallery


the daylighting has begun

The Spiritual Dynamic in Modern Art:
Daylighting an Underground River

Today, a review of Charlene Spretnak’s new book The Spiritual Dynamic in Modern Art, written by the indefatigable, inspirational Deborah Barlow and reblogged from Slow Muse with her kind permission.

 

Charlene Spretnak: The Spiritual Dynamic in Modern Art: Art History Reconsidered, 1800 to the Present

 

Charlene Spretnak is a scholar who has blended interests. She has written books on ecology, ecofeminism, politics (she is a cofounder of the Green Party in the US), art, and spirituality. With a formidable CV and a demonstrated knowledge of art and art history (she has taught art history, inter alia, at the California Institute of Integral Studies), she is not a member however of the anointed art world cognoscenti.

Which is probably why she could write the book I have been waiting to read for years.

The Spiritual Dynamic in Modern Art: Art History Reconsidered, 1800 to the Present, is a much needed counter punch to the predominant narrative about modern art that has squelched this particular story line. While Spretnak does not embrace a conspiratorial view as to why the spiritual has been eliminated from the etiology of contemporary art, she is very thorough in demonstrating that the denial has been both deep and wide. By going to original sources and finding statements made by many prominent artists, both historical and contemporary, she successfully uncovers a significant interest in the spiritual aspects of art making.

As Spretnak begins to unravel this buried story line, she asks a number of her friends—John Walsh, the director of the Getty Museum at the time, and art historian Peter Selz—why the spiritual was frequently denied or squelched. Both answered that question with the exact same words: “We just weren’t taught that way.” With a generosity others might not embrace, Spretnak points to experiments in psychology that have demonstrated that “once someone is educated in a particular frame of reference during his or her formative years, subsequent events and information that do not fit within that framework often do not register.”

Spretnak does nail a few particularly guilty parties, deservedly. Alfred H. Barr, Jr, the first director of the Museum of Art, curated an exhibit called Cubism and Abstract Art in 1936. In that show Barr presented an entirely formalistic interpretive framework for the new art, influenced as he did so by Heinrich Wölfflin‘s principles of “scientific art criticism.” Barr asserted, amazingly, that cubistic and abstracted art arose because “the artists had grown bored with painting facts, that is, naturalistic forms.”

Although his exhibition displayed numerous paintings by artists who had published clear statements about the metaphysical meaning of their art, those were not referred to in his essay in the catalog. The spiritual dimension was simply removed from serious discussion of the art. Not only was this exhibit influential in New York but it then traveled to six cities. By the 1950s the entire history of modern art was framed by the premises of formalism…In this exclusively formalist narrative, the subject matter of the paintings, whether it may have been spiritual or otherwise, is entirely beside the point.

And then of course there was the legacy of formalist art critic Clement Greenberg.

The general attitude that denies a spiritual dimension in modern and contemporary art has, according to Spretnak, “wobbled” a bit in the last few years and is less severe than it was in the 50’s and 60s. But Ken Johnson, writing in the New York Times in 2005, still observed that “Academic art historians and critics still tend to discourage talking seriously about the spiritual in art. But considering how many artists continue to be motivated by spiritual urges, however the word spiritual is defined—this is something worth discussing.”

How that word is defined IS an issue. At a time when religion and spirituality take on so many connotations, it can be problematic. “Some feel the term spirituality has been so stretched out and bounced around by pop culture and the media that it has lost any substantive meaning.” Wisely Spretnak turns to her friend, artist Richard Tuttle, to craft a more useful definition:

Given the vague, and sometimes trivializing, uses of the term in recent decades, I appreciate the artist Richard Tuttle’s comment to me on this matter: “What I want more than anything is a definition of spirituality that is trustworthy.” Indeed—and to be so it must necessarily extend beyond a focus on the self to a sense of our embeddedness in the larger context: the exquisitiely dynamic interrelatedness of existence, the vibratory flux of the subtle realms of the material world, and the ultimate creativity of the universe. The cosmos is infused with an unfolding dynamic of becoming and a unitive dimension of being. Spirituality is the awareness of and engagement with that unity and those dynamics.

Over the last nine years of writing Slow Muse, the theme that underlies so much of what I have covered is in line with Spretnak’s definition of spirituality. This book codifies the many urgings, intuitions and personal proclivities that I have tried to assemble in the content of this blog. So of course I have marked up and underlined every page of this small book, and I read it through twice as a way of grounding Spretnak’s arguments into my nomenclature. Many of her chapter heads are useful categories for moving through a landscape that can feel a bit muddled. Esoteric spirituality, allusive spirituality, the spirituality of immanence—these are useful terms.

This isn’t a book for just browsing. There is so much of value on every single page. The quotes Spretnak has uncovered from several of my favorite artists are ones I’d like to memorize as a way of reminding myself what this mysterious process is really about—not just for my kind of art making, but for the art making of so many others as well.

Once the evidence is truly acknowledged, the history of modern art looks quite different from the proscribed narrative. It is less a linear account than a richly varied landscape, made verdant in numerous places by the great underground river of the spiritual in modern art. Hence the aim of this book is rather like the process in ecological restoration known as “daylighting” underground streams by removing the cement culverts that enclose them and allowing them to be seen in their natural habitats.

I can’t imagine a single reader of Slow Muse [or The Awakened Eye] who wouldn’t love this book.

Finally, the daylighting has begun.

Deborah Barlow

Read the original post at Slow Muse

 


The Spiritual Dynamic in Modern Art: Art History Reconsidered, 1800 to the Present
– Charlene Spretnak


equivalence: the perennial trend

minor white and the quest for spirit


tethering art to truth

 

I’m delighted to have added a new page to this website’s educational resources:
Contemplative Fellowships offered by the Hemera Foundation

 

Hemera Foundation Fellowships

 

Can art serve to help the world, and, if so, what does that require of the artist? It is our belief that there are certain practices for the artist that help address this question, such as contemplation, meditation, retreat, listening, and discipline. As a result, we are providing a context for artists to investigate those elements on their own and within community.

We believe that art has the capacity to genuinely help our world, to instill it with sanity, awareness, joy, and beauty. This does not mean that art has to look a certain way or achieve a standard aesthetic or tone, nor is it an endorsement of a “love and light” approach to art. It does mean that art needs to be tethered to truth, according to the logic of the process undertaken or the piece being created.

How does one cultivate this tether to truth? Our inspiration has been through slowing down, making friends with oneself through meditation and contemplation, spending the time to develop one’s craft, know one’s materials, and fine-tune the senses as tools for communication. Most of all, we are interested in supporting artists in genuinely finding their way.

– Text and graphic sourced from the Hemera Foundation website


The Hemera Contemplative Fellowship programs were created to make the unique benefits of contemplative practice in a retreat context more widely available. Find more information on this page:

fellowships for contemplative artists