Across the U.S., museums are exploring spiritualism and the occult as powerful, unsung forces in art history:
” which opened in October at the Philbrook Museum in Tulsa, Oklahoma, resuscitates the Transcendental Painting Group, a Southwest-based collective that emerged in 1930s New Mexico. As one of its adherents explained, its members were seeking “a richer and deeper land—the world of peace—love and human relations projected through pure form.”
As set out in the catalogue, the historical record includes some fascinating case studies. For instance, there’s the story of Gertrude Abercrombie, painter and self-described witch whose works represent herself as an elongated figure who levitates, drifts through sparse landscapes, or consorts with her animal “familiars” in spooky domestic interiors.
Cozzolino quotes a statement by Whitten: “I LIKE THE NOTION OF PAINTING AS OBJECT USED TO SEDUCE SPIRIT.” And, indeed, the exhibition as a whole suggests a connection between African American folk knowledge, African religious practices, and the profound sympathy for the supernatural found in the work of many African American artists.. Collection of halley k harrisburg and Michael D. Rosenfeld. Photo: Courtesy of Michael Rosenfeld Gallery LLC, New York, NY.
Renée Stout, <em?The Rootworker’s Worktable . Karen and Robert Duncan Collection, Lincoln NE. Photo: Renée Stout.The selections in “Supernatural America” emphasize progressive aspects of the occult impulse. This is in keeping with the historical record. In the 19th century, spiritualism, in particular, belonged to a constellation of interests that included abolition, women’s rights, socialism, temperance, and other social reforms.
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