Current sessions beginning Tues., April 20, 12:30p MT are now FULL!
Each session will last 90 minutes, consisting of a brief opening followed by group discussion on select readings circulated in advance of each session.
In the Eggshell is a five month Working Group that aims to redress modern art by turning to how the sciences, religious beliefs, and occult traditions provide a better articulation of modern art. The Group employs imaginative and methodological intervention as a means of addressing some of the fundamental elements left out of the discourse.
You do not need formal training in this particular subject area to join In the Eggshell sessions. I prefer participants to come seeking knowledge, as eager contributors with diverse backgrounds. Although formally trained as an art historian, I am a peripatetic writer and researcher that thrives on interdisciplinary blurring. The discipline of art history often forgets they are only seeing part of the picture.
If you’re interested in joining as a future participant, please email desertsuprematism (at) gmail (dot) com with a self-introduction and why you’re interested in the Group. Serious inquiries only!
Session 1. Blank Spaces on the Maps of Learning: Complex & Mixed Disciplinary Worlds. This session will serve as an informal introduction to the lecture series and its thematic approach rather than chronological, with a focus on the historical use of the terms ‘science and occult’, thinking about the complexity of occultism as historical phenomenon and the history of exclusion in textbook and museum narratives when addressing the spiritual dynamic in modern art, a recurring theme in these sessions. We’ll read texts by Egil Asprem, Wouter J. Hanegraaff, and H.P. Blavatsky.
Session 2. Front Line Shifts: Writing the Spiritual Perspective in Modernist Art History. The start of a two-part session concerned with the historiography of the spiritual dynamic in modern art. We’ll look at how slowly the study of spirituality in modern art emerged in art historical scholarship.
Session 3. Front Line Shifts: Writing the Spiritual Perspective in Modernist Art History, Part Two: This session continues to examine the ways in which art history grapples with the writing and inclusion of esoteric, occult, and spiritual themes in art history, engaging with more recent examples.
Session 4. New Forms of Art Historical Writing: Analytical Tools & Interpretative Models. This session looks to how methodological intervention through an interdisciplinary lens can perhaps address some of the fundamental elements left out of the discourse, as well as open the way to a more divergent and nuanced discourse around modern art with spiritual themes. We’ll discuss radical writing, the concept of “occulture” as an analytical tool, and consider more innovative and unusual concepts.
Session 5. A Spiral in Our Minds: Art History’s Vertiginous Gaze on Hilma af Klint. Our final session concludes with an examination of the public reception of Swedish artist Hilma af Klint, paving the way for a fresh albeit complex (re)examination of the spiritual dimension in modern art.