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8 lectures, Oslo and Dornach, May 18 - June 9, 1923 (CW 276) "Having remained stationary, we can no longer see the spiritual in the physical; we consider only the physical as such. This is materialism. A current has entered human evolution that is, if I may use the expression, hostile to development. Humanity shuns the coining of new concepts; it prefers to continue on with the old. We must overcome this hostility toward development. When we instead become friends of development, then we will acquire a quite natural relationship to anthroposophical spiritual development and pass over from antiquated needs to the truly modern need of humanity--namely, to raise ourselves to the spiritual." -- Rudolf Steiner (May 27, 1923) In these inspired lectures from 1923, Rudolf Steiner weaves the different art forms--including painting, architecture, and music--into a grand tapestry of human experience and expression. In the process, he reveals how each artistic medium contains its own mysteries: how architecture arises out of the soul's need to transition from the spatial to the spiritual world after death; how the art of costuming arises out of the soul's pre-earthly experiences in the world of spirit and is thus an expression, in color and form, of the soul's original nature; how sculpture emerges from an inner sense for the creative, formative forces of the etheric body; how painting can overcome spatial perspective through a new relationship to the world of colors, through color perspective; how music can receive a new direction from the depth-dimension of the single tone, which expands into melody and harmony; how poetry can be deepened through an inner grasp of the qualities inherent in recitation and declamation, through creative speech; and how the new art of eurythmy, arising out of the movement activity of the human archetype, stands midway between mime (indicative gesture) and dance (ecstatic gesture) as an art of expressive gesture. Thus, Steiner outlines a path toward the reunion of that ancient trinity: science (truth), art (beauty), and religion (goodness). It was in the womb of the ancient mysteries--where knowledge was not only a matter for the mind but was carried over into religious rites--that the arts had their origin. Today, we learn facts and figures and believe we have understood reality. To an ancient humanity, this intellectual mode of understanding would have seemed lifeless and sterile. In the ancient world, knowledge became lived artistic experience and religious deed. Modern humanity must once again give wings to knowledge, must seek a deepening of the cognitive life through transformative artistic feeling, if we are to find our way out of our world crisis, which is, at its core, a crisis of the soul. This remarkable volume, packed with profound and far-reaching insights, bears within it the seeds for the renewal of the arts in our time. Includes four color plates of Rudolf Steiner's blackboard drawings. This book is a translation of Das Künstlerische in seiner Weltmission, 4th ed. (Rudolf Steiner Verlag, 2002), GA 276. Cover Image Bright Noonday, by David Newbatt, from Goethe, The Fairy Tale of the Green Snake and the Beautiful Lily (Wynstones Press 2006).
8 lectures, Oslo and Dornach, May 18 - June 9, 1923 (CW 276) "Having remained stationary, we can no longer see the spiritual in the physical; we consider only the physical as such. This is materialism. A current has entered human evolution that is, if I may use the expression, hostile to development. Humanity shuns the coining of new concepts; it prefers to continue on with the old. We must overcome this hostility toward development. When we instead become friends of development, then we will acquire a quite natural relationship to anthroposophical spiritual development and pass over from antiquated needs to the truly modern need of humanity--namely, to raise ourselves to the spiritual." -- Rudolf Steiner (May 27, 1923) In these inspired lectures from 1923, Rudolf Steiner weaves the different art forms--including painting, architecture, and music--into a grand tapestry of human experience and expression. In the process, he reveals how each artistic medium contains its own mysteries: how architecture arises out of the soul's need to transition from the spatial to the spiritual world after death; how the art of costuming arises out of the soul's pre-earthly experiences in the world of spirit and is thus an expression, in color and form, of the soul's original nature; how sculpture emerges from an inner sense for the creative, formative forces of the etheric body; how painting can overcome spatial perspective through a new relationship to the world of colors, through color perspective; how music can receive a new direction from the depth-dimension of the single tone, which expands into melody and harmony; how poetry can be deepened through an inner grasp of the qualities inherent in recitation and declamation, through creative speech; and how the new art of eurythmy, arising out of the movement activity of the human archetype, stands midway between mime (indicative gesture) and dance (ecstatic gesture) as an art of expressive gesture. Thus, Steiner outlines a path toward the reunion of that ancient trinity: science (truth), art (beauty), and religion (goodness). It was in the womb of the ancient mysteries--where knowledge was not only a matter for the mind but was carried over into religious rites--that the arts had their origin. Today, we learn facts and figures and believe we have understood reality. To an ancient humanity, this intellectual mode of understanding would have seemed lifeless and sterile. In the ancient world, knowledge became lived artistic experience and religious deed. Modern humanity must once again give wings to knowledge, must seek a deepening of the cognitive life through transformative artistic feeling, if we are to find our way out of our world crisis, which is, at its core, a crisis of the soul. This remarkable volume, packed with profound and far-reaching insights, bears within it the seeds for the renewal of the arts in our time. Includes four color plates of Rudolf Steiner's blackboard drawings. This book is a translation of Das Künstlerische in seiner Weltmission, 4th ed. (Rudolf Steiner Verlag, 2002), GA 276. Cover Image: Bright Noonday, by David Newbatt, from Goethe, The Fairy Tale of the Green Snake and the Beautiful Lily (Wynstones Press 2006).
A 20th anniversary edition of the art classic that celebrates the intersection of creative expression and spirituality—from one of the greatest living artists of our time Twenty years after the original publication of The Mission of Art, Alex Grey’s inspirational message affirming art’s power for personal catharsis and spiritual awakening is stronger than ever. In this special anniversary edition, Grey—visionary painter, spiritual leader, and best-selling author—combines his extensive knowledge of art history with his own experiences in creating art at the boundaries of consciousness. Grey examines the roles of conscience and intention in the creative process, including practical techniques and exercises useful in exploring the spiritual dimensions of art. Challenging and thought-provoking, The Mission of Art will be appreciated by everyone who has ever contemplated the deeper purpose of creative expression.
People communicate by speaking words in over seven thousand languages around the world. They also sing, dance, paint, preach, dramatize, and design communication that enlivens heart, soul, mind, and strength. God gave every community unique gifts of artistic expression to enable its members to proclaim the Truth and to bring healing, hope, and joy to others in the fallen world in which we live. Community Arts for God's Purposes highlights the CLAT (Creating Local Arts Together) method, a seven-step process that inspires artistic creativity and collaboration with local musicians, dancers, storytellers, actors, and visual artists. In this manual, the arts are treated as special kinds of communication systems, connected to specific times, places, and social contexts. As local communities use the creative gifts developed in their particular culture to worship God and extend his kingdom, a beautiful example of the Lord’s complex artistry emerges. This book helps communities draw on examples and insights from over two thousand years of church history to understand and improve the present. It motivates people by painting a vivid picture of a better future: the kingdom of Heaven. Contributors also apply expertise from multiple academic disciplines, such as ethnomusicology, performance studies, anthropology, biblical studies, and missiology. Experiment with this manual. Adapt it to your setting. Let it be an aid in creating astounding bits of artistry on earth that you’ll recognize in Heaven.
Taking the dichotomy of nonprofit "high culture" and for-profit "popular culture" into consideration, this volume assesses the relationship between social purpose in the arts and industrial organization. DiMaggio brings together some of the best works in several disciplines that focus on the significance of the nonprofit form for our cultural industries, the ways in which nonprofit arts organizations are financed, and the constraints that patterns of funding place on the missions that artists and trustees may wish to pursue. Showing how the production and distribution of art are organized in the United States, the book delineates the differing roles of nonprofit organizations, proprietary firms, and government agencies. In doing so, it brings to the surface some of the special tensions that beset arts management and policy, the way the arts are changing or are likely to change, and the policy alternatives "high culture" faces.
With 600 stunning photographs, this comprehensive book showcases more than three decades of street art in San Francisco's legendary Mission District. Beginning in the early 1970s, a provocative street-art movement combining elements of Mexican mural painting, surrealism, pop art, urban punk, eco-warrior, cartoon, and graffiti has flourished in this dynamic, multicultural community. Rigo, Las Mujeres Muralistas, Gronk, Barry McGee (Twist), R. Crumb, Spain Rodriguez, the Billboard Liberation Front, Swoon, Sam Flores, Neckface, Shepard Fairey, Juana Alicia, Os Gemeos, Reminesce, and Andrew Schoultz are among the many artists who have made the streets of the Mission their public gallery. Essays and commentaries by insiders involved with the movement document the artistic, social, and political forces that have shaped Mission Muralismo.
"This book documents the commitment, hard work and adventures of all those who have been part of the Cape Farewell project. Forty artists, scientists, educators and film crew have sailed into the ice of the High Arctic as part of the Cape Farewell expeditions ... Artwork from the Cape Farewell project features in several exhibitions, at the Bodleian Library, Oxford, December 2005; at the Natural History Museum, 1 June - 3 September 2006; the Liverpool Biennial, 14 September - 26 November 2006; and Eden Project, 2007/8"--Colophon