Julian interviewed me in June, and I wanted to be outside so that I could have a supporting cast of broad-tailed hummingbirds. They don’t show up too well though, and there was glare in a face. . . oh well.
The Witch of Kings Cross, a documentary on the life of Australian artist and witch Rosaleen Norton (1917–1979), directed by Sonia Bible, is being premiered in Paris as part of L’Estrange Festival. Often described as Australia’s “most persecuted artist,” Norton blended art and magic in a way often called “demonic,” at least in the 1950s and 1960s.
This was an earlier trailer for the film’s crowdfunding campaign, and you can see the Australian occult writer Nevil Drury talkiing about about her:
In 2010, The Pomegranate published an article by Drury titled “The Magical Cosmology of Rosaleen Norton.” This one is not free, but you can read the abstract here, and if you know a librarian or two, maybe they can get it for you.
Influenced by a range of visionary traditions, including Kundalini Yoga, Kabbalah, medieval Goetia and the Thelemic magick of Aleister Crowley, Norton embraced a magical perspective that would today be associated with the so-called ‘Left-Hand Path’, although this term was not one she used to describe her work or philosophy. Norton’s artistic career began in the 1940s, with publication of some of her earliest occult drawings, and reached a significant milestone in 1952 when the controversial volume The Art of Rosaleen Norton – co-authored with her lover, the poet Gavin Greenlees – was released in Sydney, immediately attracting a charge of obscenity. Norton rapidly acquired a media-led reputation as the wicked ‘Witch of Kings Cross’, was vilified by journalists during the 1950s and 1960s, and was branded by many as demonic. But Norton’s magical approach was not entirely ‘dark’. Her perception that the Great God Pan provided a source of universal vitality led her to revere Nature as innately sacred, and in many ways she can be regarded as a significant forerunner of those Wiccans and Goddess worshippers from a later generation who would similarly embrace the concept of sacred ecology and seek to ‘re-sacralize’ the Earth.
“Where life comes out of an espresso machine.” Rosaleen Norton pops up in this short film about her neighborhood in Sydney, done in that classic mid-century style with a narrator who sounds like he stepped over from a cop show.
A rising number of young adult females use Instagram, posting pictures with hashtags which alert Instagram users to their specific interests. Heathens have also begun to use Instagram and in order to better understand this new feature of the religious movement I interviewed fifteen Instagram account owners whom I identified by three factors.
1. Their use of three or more of the following hashtags: #norsewitch #heathengirl #seidr #volva #galdr #norsepagan #heathensofInstagram #witch #runes #viking #shamanism #witchesofInstagram
2. Their personal identification as Heathen, Asatru, Norse Pagan, or otherwise expressing spiritual belief in a Nordic mythology.
3. The account had at least 500 followers, indicating the likelihood of having an impact on Heathens, Pagans, and sympathetic individuals.
My focus is to document the processes and dynamics of Instagram as a medium for religious communication from the point of view of producers of religious content: the alpha Instagram account owners. The data shows that these young females apply significant theological thought in their posts and most have a strong sense of responsibility to teach others about Heathenry. The data departs from previous research on Instagram and Heathenry in that the account owners appear to have altruistic motives in the first instance and an affirmative non-political epistemology in the second.
The iconography and visuals associated with magic are highly evocative and responsible for a major part of its appeal. The strong, often iconoclastic imagery exerts a particularly powerful draw for the artist or craftsperson because of its ability to fire the imagination, and to inspire creative work in response. Until recent times, creative interpretations of magic within mainstream fashion have mainly been on a subtle and subversive level; generally within a counter cultural context. So why is magical symbolism being appropriated within high fashion at this particular point in time?
This article is part of Pomegranate’s “Paganism, Art, and Fashion” special issue, guest-edited by Caroline Tully. All content may be downloaded for free at this time.
This article considers feminist interpretations of the witch in contemporary art in relation to the witch craze: examples are by Georgia Horgan, Ann-Sofi Sidén, Mathilde ter Heijne, Monica Sjöö, Tania Antoshina, Helen Chadwick, Jesse Jones, and Carolee Schneemann. The argument explores the ways that the figure of the witch is analyzed in three different feminist critiques of patriarchy, and subsequently pursues how these ideas have been taken up in contemporary art by these women artists. The differences between three authors: Matilda Joslyn Gage (1893); Mary Daly (1984); and Silvia Federici (2004) are highlighted and contrasted to other historians’ analyses from the last thirty years of the fate of women accused as witches during the European Witch Hunt between the fifteenth to eighteenth centuries. This was a paper given at Misogyny: Witches and Wicked Bodies, Institute of Contemporary Arts, (ICA) London in March 2015.
Design by Gareth Pugh inspired by the Padstow Oss.
A new issue of The Pomegranate: The International Journal of Pagan Studies devoted to Paganism, art, and fashion has been published online (print to follow) and is currently available as “open acess,” in other words, free downloads.
There have never been any little girls in my house, so consequently no Barbie dolls, but they cost only about $2–$4 in the thrift stores. So I decided last year to make a neoshamanic Barbie, because I like the idea of “theme” Barbies (like “New Mexico Barbie“) and because the very thought of her reminded me of a certain author and teacher who is “widely acknowledged as a major link between the ancient world of shamanism and modern societies thirst for profound personal healing and a deeper understanding of the pathway to enlightenment.”
I made one and on a warmish day in January placed her way up behind the house in some boulders that I call Ringtail Rocks. She has her magickal assignment, she is hidden by rocks, and I will never disturb her.
Neoshaman Barbie 2 with her necklace of power and her spirit animal.
But there was one more Barbie left, so today, now that the last snow has melted and the trail is dry, she went to a different cluster of boulders with a similar assignment, along with her spirit animal.
These are part of a series of “installations” that I have started. You can tell that I was not a studio-art major, because I cannot produce 3,000 words of art-prose about what I made.
But since producing prose (and editing other people’s prose) is what I do all day, these and the other installations are just thigs that Iet bubble up, and I don’t have to produce a lot of discourse about them. I am not even completely clear on their magickal purpose
A geocacher would spot this as a “suspicious pile of rocks,” but there are no geocaches in the area either.
“With Open Arms We Welcomes That Which Would Destroy Us.” Camino de la Placita, Taos, September 2019
Earlier this month, M. and I were in Taos, New Mexico, for what I think was the fifth annual PASEO outdoor art festival. The interesting thing about PASEO is that it happens mostly at night, in a town with a late-medieval street plan that was built for ox carts and is still kind of sparing with streetlights. You spend your time walking in semi-darkness from one pop-up installation to another.
Some installations sound better on the page than they are experienced in person, but here are a couple that worked for me.
At least one year, equinoctial rainstorms lashed the night, but this year the festival was moved earlier in the month, and the weather was good for an Underworld-flavored Pagan-ish art experience.
Above and below:
With Open Arms We Welcomed That Which Would Destroy Us by Christian Ristow of Taos is a sculpture of a seated robot deity. From a distance, it is beautiful and seductive, yet on closer inspection it reveals its true nature. It is not evil; it’s a robot. It has its own directives. And like any god, we created it and gave it its power.
Walking up Civic Plaza (which is actually more of a street and not the plaza), we passed under this flaming arch.
Numinous Eye Arch, with the Robot God in the distance.
The Numinous Eye Arch sculpture is a large steel archway with a looming giant spotlight eye at its apex. It gazes impassively in mysterious stoic surveillance, with a dozen [propane-fueled] torches along its length creating a dome of golden firelight. Some 18 years ago I began to feel a strong urge to create a sort of gateway or portal for people to pass through, beyond which one enters an unfamiliar hallucinatory world and goes on to encounter dangers and challenges emerging from one’s own subconscious. Could be a Gate to Hell or a Gate to Heaven, depending…
Past that and around the corner, more leaping flames, but those were the outdoor fires heating the patio at the Martyrs Steakhouse,1)There is a reason for that name. It is too long to go into here. which we passed, only to re-enter PASEO-space when we encountered a troupe of girl dancers, bedecked in rave-ish electroluminescent hoops and bands.
Taos Un/Connected by Amber Vasquez and Taos Youth Ballet in Taosis a roaming dance performance piece exploring the unique and ever-changing qualities of human relationships. From comfortable friendship or the awkwardness of new love to the isolating “connectedness” that social media can create. Dancers will both speak and dance as they travel in a train of movement.
OK, we’re in artspeak-territory here, but you just let it be and drift with the crowd through the semi-lit alleys and plaza, following the dancers until they finish under the glare of the monumental statue of Padre Martinez2)Northern New Mexico’s one-man Renaissance, and he had only the period from 1821-1846 in which to make his mark. in the main plaza.
If I might venture into UPG territory, moments at PASEO, out on the dark streets, do indeed have an Underworld feel to them. Ryon Gesink must have plugged into that energy. I have visited that place in dreams a time or so, checking on recently deceased family members. The crowds shuffle along, and it is so hard to see, except when there is an occasional brightly lit scene, and those are very rare.3)Or you get flat fluorescent lighting on the way in, which is almost as bad.
I will probably go back. Taos, after all, is where I officially became a Pagan, and it left its mark.
Caroline Tully is an Australian scholar of Classics, archaeology, and esotericism with a background in fine arts:
I am an Honorary Fellow in the School of Historical and Philosophical Studies at the University of Melbourne. I have a Bachelor of Arts in Fine Art from Monash University, Graduate and Postgraduate Diplomas in Classics and Archaeology and a PhD in Aegean Archaeology from the University of Melbourne. From 1996 to 2010 I worked as a professional tapestry weaver at the Australian Tapestry Workshop, during which (from 1999 to 2005) I also worked as a feature writer, reviewer and news and events editor at Australia’s Witchcraft Magazine. I returned to university study in 2004, started PhD research in 2009 and was awarded my Doctorate in 2017. My PhD, which is on tree worship in the Late Bronze Age Aegean and East Mediterranean (primarily Crete and mainland Greece, with comparative material from Cyprus, the Levant and Egypt), is currently in press with Peeters Publishers and due out this year. I also work on the reception of the ancient world, particularly the ways in which ancient Egyptian and Minoan (Bronze Age Crete) religions have been interpreted by late nineteenth century British magicians such as the Hermetic Order of the Golden Dawn and their spiritual heirs, the 20th and 21st century ceremonial magicians, witches and Pagans.
The Wild Hunt had a short interview with her last year, but here is a long version of her interview by Rick de Yampert.
I think Paganism is inherently creative because of its this-worldly, rather than other-worldly, focus. There is a wide spectrum of aesthetic expression that manifests in the materiality of Paganism; in the ritual objects we use, the way we design rituals, our robes (or lack thereof), direct – bodily – contact with deities, ecstatic expression, sexuality, and the general artistic legacy of all forms of ancient pagan religions that we are able to draw upon in order to create our religion and rituals. However, the initial impulse to create this special issue came from the creativity, often aligned with business savvy, of Witches on Instagram; the sex-positive feminist collective website, Slutist.com; and the fact that Witchcraft was appearing in high fashion contexts such as catwalk collections and featuring in magazines like Vogue. Witchcraft has become glamorous – and I’m not talking about its traditional faerie glamour, but fashionista glamour. Bloggers, Peg Aloi (“The Young Ones:Witchcraft’s Glamorous New Practitioners”), and Thorn Mooney (“The HipsterWitch: Aesthetics, Empowerment and Instagram”), have already noted that this is a new kind of Witchcraft, less focussed on deities, Pagan history and community, and more focussed on self-care and characterised, to quote Mooney, by “a strong entrepreneurial streak”. These Witches are also politically active, more multicultural than Paganism has traditionally been, and read magazines like Sabat and Ravenous, and books like Kristen J. Sollee’s Witches, Sluts, Feminists: Conjuring the Sex Positive. This issue of The Pomegranate is interested in research on these new slick Witches – who are they? Are they really so new after all? What does it mean for Witchcraft to be so distinctively stylish?