80WSE

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Panel: Language of the Birds: Occult & Art: Art Workings

(Photo: Nicole Disser)

(Photo: Nicole Disser)

In conjunction with the ongoing exhibition (through Saturday February 13) Language of the Birds: Occult & Art the show’s curator Pam Grossman (who’s manned the esoterica blog Phantasmaphile for the last 10 years) will host a panel discussion featuring Professor Susan L. Aberth (author of Surrealism, Alchemy, and Art), Jesse Bransford (Chair of the Art Dep’t at NYU, Grossman described him as “an unbelievable occult artist” and his work is featured in the show), and William Breeze of the band Coil.

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A Little Bird Told Me: Aleister Crowley and Genesis P-Orridge in Occult Art Show

Carol Bove "Legal Status of the Moon," 2015  (Photo: Nicole Disser)

Carol Bove “Legal Status of the Moon,” 2015 (Photo: Nicole Disser)

“Ordinary morality is only for ordinary people,” Aleister Crowley once said. That maxim echoes inside the walls of a new exhibit at 80WSE, Language of the Birds: Occult and Art. Even now, when dabbling in the occult has become morally ambiguous rather than universally derided, the work shown at NYU Steinhardt’s gallery is far from ordinary. Spanning the beginning of the last century to the present day, its authors range from avant-garde filmmakers (Kenneth Anger), to spiritual philosophers (Aleister Crowley), to industrial music makers (Genesis Breyer P-Orridge), and “just” plain artists (Kiki Smith). Somehow these varied participants share a similar worldview, which they’ve communicated (at various points in time) through symbols and talismans that have remained fairly static throughout.

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Language of the Birds: Occult and Art

Peter Lamborn Wilson, "Leonora and Loplop," 2015  (Photo: Nicole Disser)

Peter Lamborn Wilson, “Leonora and Loplop,” 2015 (Photo: Nicole Disser)

“Ordinary morality is only for ordinary people,” Aleister Crowley once said. That maxim echoes inside the walls of a new exhibit at 80WSELanguage of the Birds: Occult and Art. Even now, when dabbling in the occult has become morally ambiguous rather than universally derided, the work shown at NYU Steinhardt’s gallery is far from ordinary. Spanning the beginning of the last century to the present day, its authors range from avant-garde filmmakers (Kenneth Anger), to spiritual philosophers (Aleister Crowley), to industrial music makers (Genesis Breyer P-Orridge), and “just” plain artists (Kiki Smith). Somehow these varied participants share a similar worldview, which they’ve communicated (at various points in time) through symbols and talismans that have remained fairly static throughout.

Read more here.