At the time of this blog’s one year anniversary (the solar return chart is above), I was leaving John McWhinnie’s office at Glen Horowitz Bookseller and rushed down Madison Avenue for a meeting with Mei Ling Israel, dropping a letter about a new project along the way (I missed the intended time of drop off, in the above chart, by about 18 minutes).
The beginning of the week delivered such illumination about the necessary grounding I have achieved to fulfill my goals. The dream was fulfilled at 2:07 AM today, November 26, when I got an e-mail informing me that I was the feature for the Huffington Post arts section,
There is a strong message of “letting go” in this Solar Return chart. Freedom. Transcendence (Neptune on the MC). A job well done.
The year looks good for business partnerships (Capricorn in the 7th house). Strategizing. Athena in Aries opposing Venus in Libra.
Is what happens once you let go. The grand trine in Air between the Moon in Gemini, Neptune in Aquarius and Venus in Libra.
Grounding the vision (Sagittarius Sun and Mars in Sixth House) through writing.
And the happy tension between the elevated Jupiter/Uranus conjunction and Mars/Mercury on the angles.
Mei Ling met me at the Gershwin Hotel and we walked a few blocks to the Indian market, discovering an Indian vegetarian restaurant along the way. Over dinner, she handed me a bag of goodies — books by and about Adi Da Samraj. She told me about her experience as his assistant.
She interpreted my dream from her Adi Da Samraj holistic perspective. In my language, the “flying object” has landed. I reminisced about my first visit to a yogi, who was also a palm reader. ”When will I have any success?” I asked. He replied: ‘When you get into your body.”
Yes, at last! We were similarly convinced that Adi Da Samraj was behind this sudden evolution in my state of perfect beingness! It seems that the push from the guru that I couldn’t accept if he was alive, is accepted in the due course of my finishing a cycle of the Ouroboros (my progressed Sun returning to my Natal Moon position) via his spirit!
Mei Ling handed me Adi Da’s last essay: “The Visual Realization of Insecurity and Truth.” This gift had special meaning because the image on the cover, The Goddess of New York, originated with her photo! The airplane over her right eye, representing the left brain.
“In order to participate in Reality Itself, “point of view” (or ego-”I”) must be transcended — and, therefore, the illusion of separate “self” and all of its effort to “know,” to control, to dissociate, to size everything down must be transcended. “
– Adi Da Samra, ”The Visceral Realization of Insecurity and Truth”
This feeling is beyond anything I have ever experienced — far beyond the opening of the crown — it is a complete feeling of integration and connectedness between heaven and earth that capped a week of illuminated dialogue with Dianne Bowen about the “falling away” (Scorpio) of this season revealing the sturdiness of the ground (Taurus) we are standing on.
This shift delivers me to a new definition for my profession, not as critic, but interpreter. The same definition I give to “shaman.”
And speaking of Shaman, I passed from the sublime to the…erotic!
In an Max Blagg was performing his new publication, Slow Dazzle, within the scarlet walls of the Gershwin Hotel….
Thus, fulfilling in one energy packed day, the promise of the Kundalni Daughter blog Solar Return, recapped here.
The Full Moon peaked at 12:27 (see above chart), just before my first complete talk on my odyssey at Silvermine Arts Center. The Neptune/Chiron conjunct the Ascendent was surely about the divine face of the feminine (Neptune in Aquarius and Uranus in Pisces still in mutual reception, but not for long, is about the divine feminine (Neptune), at long last, entering the collective consciousness (Uranus) and this chart of a lunation at the critical degree of 29 Taurus/Scorpio, reveals it being done through art. In fact, a philosophy (Mercury/Mars/MC in Sagittarius) of the spiritual feminine (Jupiter ruling the stellium conjunct Uranus in Pisces) made real (North Node/Pluto in Capricorn) through a modernist aesthetic (Saturn in Libra) of art (Venus in Libra). The inconjunct between Jupiter/Uranus and Venus just moving forward reveals a sudden transformation (Venus in 8th house) that happened to be 27 years in the making!!
So, the overriding message here was…LET GO!!
What a shock to go out to the parking lot at 2 pm and experience such a feeling of emptiness! Talk about fall away! My talk was supposed to be starting and I have never seen the Silvermine parking lot so empty! But then, I realized that I asked for it by making the time of the talk at the critical degrees of Sun at 29 degrees Scorpio and Moon at zero degrees Gemini. Which gave it a 3 degree Aries Rising so close to the zero degrees rising of my natural chart.
Talk about a clearing out! It signified an entirely new beginning for me. And the intimate group that gathered was very supportive in this leap from the intimate comfort of the grassroots of wooded Connecticut, where my art reviewing was seeded and nurtured for over a decade, into the global blogsphere of Huffington Post.
The path crystalized when the shaman Suzanne Benton commented on my talk: “You really have founded an art movement…the route is the Web.”
This brought me full circle back to Dianne Bowen’s “Web” sculptural performance piece with Heins Kim on the Lower East Side. In her symbolic language of interweaving of the feminine psyche into her interwoven structures, she was completing the dialectic underlying my spiritual journey, which was launched before the Web existed as a physical form of global communication!
Surely, this is not the trajectory I expected when I set out to write novels thirty years ago! As I said in my talk, who could have imagined the Internet before it became a reality? Who but the spiritual visionary that I commemorated through my alchemy of love?
For the observers of the Future,
the greatest event will be
the sudden appearance of a
collective humane conscience
and a human work to make.”
—Pierre Teilhard Chardin
Two interlocking triangles in the above chart. The release of telling my story and having it so well received, by a group that served as a strong container for the spirit of this extraordinary Full Moon resulted in a powerful, physical dream. I was in a house when it fell quite suddenly into an abyss. I was very calm about this descent, feeling both inside and outside of the house when it happened.
It was clearly an archetypal dream, representing something far beyond the collapse of the housing market that my brother is tracking for the New York Times. It represents the descent into spirit, the embodiment of the new feminine archetype that I have been now consciously writing about (since 1997) as long as I have been seeking (since my kundalini awakening in 1983).
This awareness of being at a crucial crossroads, entered my talk as a visual embodiment of a prophetic dream of Wolfgang Pauli, which I analyzed on my http://blackmadonna2009.wordpress.com blog, as key to defining the art of the 21st century.
In the dream I drew an oscillation process beneath the window – actually two oscillations, one beneath the other. By turning to the right from the curves, I try to see the time on the clock. But the clock is too high, so that doesn’t work. Then the dream continues. The ‘dark unknown woman’ appears. She is crying because she wants to write a book but cannot find a publisher for it. In this book there is apparently a great deal of material on time symbolism – e.g., how a period of time is constituted when certain symbols appear in it. And at the end of one page of the book, there are the following words, read aloud by the ‘voice’: ‘The definite hours have to be paid for with the definite life, the indefinite hours have to be paid for with the indefinite life.’”
So, the feeling of being inside as well as outside the house was this internal acceptance of the hieros gamos, meaning the integration of spirit into matter, inner and outer, definite and indefinite, into a oneness that truly feels extraordinarily sublime!
It was like lightening striking, as the work itself, on a deep unconscious level then (I didn’t look at the titles) and highly conscious level now during this posting (as I place the labels on the works), delivered me full circle –
…not just physically back to the site of my first newspaper art review in the spring of 2001; but to the completion of a journey begun in 1983 when I plunged into the Underworld of Argentina in chaos where I began writing autobiographical fiction in a seemingly endless role as …
…to the female psyche. I returned to Los Angeles in the late 1980s, and in the rootlessness of the desert environment, I ran around looking for a cure to the surcharge of kundalini energy (and its dis-ease of nonstop writing) from my 1983 awakening over my father’s casket. My search gave me …
…at the intersection between the big concept high flying eighties and the inward pull of New Age metaphysics chronicled in my many writings. Michael Manning, a Black Belt, is the most wonderful collaborator a woman could ask for. Patient, wise, strong and focused — he brought the masculine support and stability of the…
…that I couldn’t even have imagined in my dreams. It is because of him that I made it this far in the narrative to present the entire trajectory at Silvermine on Sunday, November 22, 2010:
Here is an excerpt from Kundalini’s Daughter: Critical Trilogy, Vol. I that I will be reading tomorrow under the full circle of this Full Moon prior to a humdinger of a lunar eclipse on the eve of the Winter Solstice:
When Joseph Campbell zoomed into the collective consciousness with the 1988 The Power of Myth television documentary series, I was working as a Hollywood script analyst. Follow your dream and you will be awakened. In search of the myth guiding the transition into the Age of Aquarius, the Dream Merchants sent a memo around about the cinematic arc of the Hero’s Journey. My mind was always pondering the Heroine’s Journey while combing through a weekly stack of scripts that were progressively becoming more misogynistic.
At this time, Cosmic Ray entered my life. This barefoot hippie revolved around the Los Angeles astrology constellation with his personalized star charts. “You don’t use these myths,” he would tell his clients, many of them working in the film industry. “The myths use you.”
In renouncing the traditional wheel to establish his own method of forecasting from linear star maps of the heavens drawn in allegorical images, Cosmic Ray was a radical. He gave readings from long pieces of grey cardboard covered with the outlines of figures personifying the constellations in space. He placed the planets on a line, representing the ecliptic plane. The path was drawn through these mythical characters, like stationary actors on a movie screen awaiting the passage of a wanderer, or planet orbiting the Sun, to dial up an internal e-motion. And like the planets, the Sun also moves on an ecliptic through the ring of constellations known as the zodiac, which gives us our solar year.
Children, he would say, look at his maps and pull out their familial stories by pointing to the pictures – Andromeda, the chained princess, for their charming yet helpless mother who expects others to come to her rescue, or the romantic dreamer in a musician brother born under Orpheus and ignited by love as Venus passed by.
At the time of stumbling into this intriguing character at an astrology workshop in Los Angeles, I had begun my personal quest in earnest and was eager to learn my myth so I could, well, use it.
“How do we recognize our myth?”
BRAVO Michael, and a boutiful and wondrous Solar Return to you tomorrow, under the Full Moon when I will be delivering our personal mythical journey as collaborators into a universal narrative!!
Michael Manning: Artist Statement
Throughout my life I have been attracted to the stories I have encountered in mythology and religion, and this has been expressed in much of my work. At an early age I questioned the meaning and purpose behind these stories and the messages they were imparting. Initially I rejected them, but through exploring them more deeply in my work and in my life, I came to truly appreciate how diversity yet similar these stories and their messages were.
My paintings began to use stories within mythology, along with my perspective of right and wrong, as a framework for addressing current issues faced by society. While my use of mythology has been vital, my current work has established a more immediate relevance. I’ve been able to deal more directly with issues of morality, mortality, and injustice. With the use of traditional mythology as a foundation, I see the new work as a kind of new mythology—new stories, commenting on current issues. These stories have been constructed from my individual point of view, but with universal significance and meaning.
The current series of paintings I am working on focuses on a central archetypal hero figure that uses the traditional hero pattern, laid out by Joseph Campbell as a starting point for many of the paintings. With the traditional hero pattern as a background, the traditional deeds and adventures of the hero are substituted with events found in everyday life. The end results are narrative paintings that use allegorical images to show every day events as equivalent to the actions of a classic mythological hero.
Venus rules the chart and is firmly in the Sixth House ,which rules process, the self-perfection of Virgo in preparation for the Seventh House of the public and relationship. The Sixth House is feminine in that it rules the craft of art and the body — as in the embodiment of a new archetype of the feminine (Uranus conjunct Jupiter changing direction in Pisces).
It’s significant to have Taurus Rising in the chart for Venus’ change in direction. Particularly now, as it places Vesta precisely on the descendent conjunct the Scorpio Sun, which is telling us to take back our projections (Sun square Neptune) and look within (Sun/Vesta trine Jupiter/Uranus) to find Her.
Significantly, She is hiding in plain sight — raring to emerge from the collective unconscious (Moon in Aries in the 12th house) fiery red, a symbol of her passion to show her face without compromise!
I can’t resist but post this image that the uncompromising painter Grace Roselli sent me last night. Notice the red button on the motorcycle. Grace has long used the motorcycle as a metaphor for the kundalini power and this pigment linking the heart with the flaming red hair, the eager mouth and starter button — all transmitting the message of Venus turning direct under the Aries Moon! Venus is tomboyish with the residue of her previous incarnation in Aries as She resurrects into the Scorpio incarnation intact, with a gap between her teeth revealing her zesty appetite for life and reconstruction, in the midst of the chaos and destruction of the breakdown of the patriarchal culture.
The Moon’s trine to Athena (sandwiched between Mars and Mercury) has greatly helped this process of Emergence. The Sagittarius alignment is broadening the vision in anticipation of the highly intense Full Moon on Sunday.
The Full Moon clearly states a New Mythology in Art due to the Neptune on the Ascendant in Aquarius in a T-Square with the Moon (Taurus) opposition Sun (Scorpio) at 29 degrees. This last degree in the fixed signs is crucial, emphasizing the urgency of delivery. There is no time to waste now, as the next Full Moon will be a Lunar Eclipse on the eve of the Winter Solstice!
What does this mean for our personal lives? The Winter Solstice is at the Galactic Center where Pluto has been passing for some years now. And now, the line-up of the Sun, Moon and Earth with the Black Hole at the center of the Milky Way Galaxy impacts the human like a falling inward to the abyss we have been used to filling with material goods. Do we fight it or simply surrender and enjoy the ride into our deepest selves? Our attitude is the key.
This upcoming month of the Sun passing through Sagittarius will shine the light to the end of the tunnel; this is where we look to artists to show us the way. And as a beginning to this process of communicating a new mythology in art, I will be celebrating the one year anniversary of this blog with a November 21 talk at Silvermine Arts Center: “Shamanism in Contemporary Art: A Universal Narrative.”
In the meantime, I will finish out Kundalini’s Daughter’s first year with an interpretation of the recent exhibitions of two pioneering artists in my talk — Marni Kotak and Michael Manning — that bring this new mythology into crystallization…
… in due time for this humdinger of an Eclipse!
At sunset on November 8, I walked from the Hudson River to the Lower East Side. At Culture Fix Gallery on Clinton Street, curator Aaron Thompson was closing his Five Years of Keeping the Artistic Flame Alive: art.les.nyc studios: a retrospective.
Located in a cozy space in the back of a Spanish bar with great food, the exhibition was replete with symbolism appropriate to the last organic movement in Lower Manhattan, which is well on the way to becoming fully re-gentrified. At 202 Rivington Street, Thompson created a multi-level outdoor artspace/studio from an abandoned lot, with a New Paradigm intention: ”carving a sacred space for artists of Today, and Tomorrow.”
Dianne Bowen is unclassifiable as an artist and a person. She transcends all categories and therefore, it was fitting that her latest installation was titled, quite simply for a complex collaborative (with Heins Kim) performance sculpture work, The Web, at Culturefix Gallery on Clinton Street. Mapping a topography deeper into the original Five Points of Manhattan, her new study utilizes the sacred geometry of the pentagram as an ongoing genesis of her 2008 Wire Tap installation, below.
Although the genesis of the work took place before we met in 2008, the rich meaning of The Web, from its red spiral to the five points of contact is integral to the purpose of this blog. Though I haven’t yet made a fully conscious interpretation of a work that has such a profound unconscious impact on my critical journey, I expect it will come in time. For now, I refer to the artist’s statement:
“Wire Tap” examines the lines of communication and infinite conversations through which information bounces faster than the speed of light within a border less global community. The work explores the process of this conversation decoding, translating what and how we listen to these audible and inaudible sounds. Information is concealed or revealed by discretion mending and repairing itself disguised as stealth. An envelopment of wires as metaphor to close or create connection to multiple and diverse dialogue between existing decay and the fabricated Utopia that attempts to coexist.” Creating the work to encompass the entire 200 square foot area, the central web connected to the original decaying wiring and walls and ascended two stories upward on the fire escape.
The web as metaphor found in both nature and technology as a structural system of order appears to degrade and unravel. Removing the work from the space by delicately snipping each of the four connecting lines with tiny sewing scissors the viewer is now witness to it’s death.
Covering the walls in cotton duck canvas, in a skin like reference it was cut and sewn as if a surgical wound in varied states of healing. Hidden beneath, the original decaying walls, wires and a barred bricked up window; phone wires are delicately pulled apart and pinned back together. Salaciously crawling along the walls they peep out from the incisions and seams behind the stretched canvas. The process alludes to ease dropping a covert action to obtain information. Multi color phone and data wires wind through a grid made from alternating black and red thin phone wires that become the central web . Sections of wire are burned and spliced exposing the copper cores. Used guitar wires wrap, dangle and connect wire to wire. Pristine green astro turf covers the floor, a man made fantasy of growth. Found cassette tape threaded through wires lightly moves as you pass. A conversation no longer available discarded and unwanted.
The hand woven central web holds the work together; each line connected every other in the piece. A series of downloaded conversations and sounds are heard from 3 points in the work through mini speakers connected to hidden ipods. These mini speakers dangle in the air at a heights just low enough to make the viewer bend in to hear. The sound level is barely audible until you put the speaker to your ear. The Central web holds one speaker embedded in its center.
The recordings are seals defending their territory, whales, and a prank call from a comedian telling a women she will not be getting her social security check. The intricate patterns of wires with live sound flowing through them give life to the work. It literally speaks to the viewer privately through these devices as the public at large can barely hear.
On first glance the work is almost invisible. Closer examination reveals highly detailed and complicated spaces and lines of connection throughout the space-canopied overhead. Light ropes behind the work begin to show through as day turns to night. Evolving over the course of each day, cast shadows offering another layer of hidden lines. Weather conditions begin to age the canvas and rust exposed wires, the ipods are disconnected, and the viewer once active participant is now witness to its process of death.
In a world on information overload and constant virtual connection with little or no barrier what and how we hear becomes one of the most important questions in our time.
“Can You Hear Me? I am here”
Originally from Brooklyn, NY, Dianne Bowen is a multi-media artist living and working in the East Village, NY for over 18 years. She studied at the School of Visual Arts, NY, independent research in Estonia, Ireland, Finland and the United States 2000-2004 and completed a residency at Byrdcliffe in Woodstock, NY in 2008. Her work is shown both nationally and internationally as well as reviewed in publications in print, on-line, live radio interview and a documentary on 10 artists in their studio “Art in Dialogue” screened at the Museum for New Art Parnu, Estonia in 2006. Bowen’s work was also featured in Art in America, June/July 2007 “Girls, girls, girls” by Carey Lovelace pg. 90. and ARTslant NY 2010, “On the Edge at Fountain” by Natalie Hegert Pick of the month for March. A book on her work “Back to the Beginning And Begin Again..” with foreword by Peter Duhon Jr. was released September 30, 2010.
Heins Kim was born and raised in Southern California to Korean-immigrant parents from Germany. He works in painting, sculpture, and installation. Kim has shown and has curated shows in Los Angeles and New York, and included in a group show at The Pelham Art Center in Pelham, New York in which his work was published by “The New York Times”
I had a surprise call from John Knowles last Saturday. I was driving back from the beach when he called and I pulled into a parking lot to speak with him, and before I knew it, I was an hour late in picking up my mother from a party! He told me about his new ”Pan” project and I was surprised that he didn’t know that Pan and Saturn were inextricably link. And, my complete loss of time, in fact, revealed the connection. Giving oneself over to Pan is a defiance of Saturn, the father of time. But truly, Saturn as Time, meaning linear Time, is an invention of the patriarchy.
Freedom! Psyche ventures out of the castle for the first time. As she runs to embrace the wind, a path to the mountain beckons and she follows her instinct to climb. She sees a figure by the stream. Human or animal? It is both. Could it be Pan, the bearded goat-god?
It is unmistakably Pan. She has seen images of his colossal hairy phallus. And she hears the shrieking of the nymphs in the water. One by one, they come to the shore and playfully stroke and lick his penis.
“My dear, lovely Psyche, what brings you to my magical spring on this stunning day? Come and tell how you managed to survive the death curse of that wicked Aphrodite.”
He points to the footbridge and Psyche crosses over.
The footbridge is significant. It is the crossing point between the real and the mythical. Indeed, as I prepare for my “homecoming” talk at Silvermine Guild Arts Center on November 21, I am tracing back over the myth of Psyche and Eros as my bridge to embracing, and therefore overcoming, the Heisenberg Uncertainty Principle, Here I read, while creating the Wikipedia link, that the ancient Greeks considered Pan to be the god of theatrical criticism. Indeed, I started writing theatrical criticism when Pan crossed me over the bridge from making the psychopomp (below), to becoming one!
Pan appeared, in fact, under the Full Moon that I learned I was going to have to self-publish the book. It was in the physical form of bricolagekitchen’s “Pan-demonium” at AC Institute. So, for me Pan, the lusty god of shepherds and the flocks, was integral to the bridge I had to cross, again and again, between an artist devoted to the unconscious energies and a critic shepherding a new movement from the grassroots.
So, it was in the natural order of things that John, who was just out of college when we met in 2005 at his family’s Roger Smith Hotel, would adopt Pan as his mascot during the course of our collaborations, eventually resulting in his Panman Productions. John has been participant in popularizing my art theory from the moment I met him and his ever-present video camera in the storefront Lab Gallery of the Roger Smith Hotel, whose director, Matt Semler, made me a open guest at the weekly banquets which provided the rectangular structure for a new art dialectic, and later hosted by year-long shamanic project, The Alchemy of Love: In Five Elements.
John is one of those fortunate souls who was born in 1982, when Jupiter aligned with Saturn in Libra, also known as the Reagan era. This group is now coming into their Saturn Return and long ago I was given hope, as I was struggling through the obscurity of my underground labyrinth, that this group would be my readers. Thus, the creative experiment of John’s new collaborative project, “Pan.” I agreed to participate by writing this post.
I was surprised at his surprise when I told him that Pan was actually Saturn. He was the mythological impetus for chaos and the breakdown of structure, which is where the word pandomonian comes from. Indeed, when Pan entered my book in the physical form of Aaron Olshan, I was faced with the opposing forces of chaos/structure rolled into one package, an artist of a new Ouroboric era who lives his creation.
Now, having read all of Nietzsche as well as Camille Paglia’s Sexual Personae: Art and Decadence from Nefertiti to Emily Dickenson, I was aware of the Apollonian vs. Dionysian cross impulses in art as the dynamic tension in which a new order arises out of chaos. The challenge before me was to navigate a center between these opposites, Uranus and Saturn, the co-rulers of my Aquarian sun sign. This required traveling the shamanic path, as taught to me by the masters and I knew it meant a frequent embrace with…
To do that, I had to turn to my training as a shaman, entering into the future via the fourth dimension, to make it happen. It was Susanna Cuyler,who presented this as words of wisdom “defying the gods” as well as a physical synchronicity.
She handed me one of her signature “juxtapositions” she was creating as I went through the breakdown in her apartment, the very spot where I initiated my Winter Solstice book launch in an obscure, sparsely attended, reading with Susanna and my most rapt reader, Aaron. This full circle with Susanna came right on the heels of my Devil’s pact — the exchange of my written wish (to remove my obstacle of “Obscurity”) for the DEATH cookie. It was indeed a full scale psychic release that took form, as is typical at this stage, in an art project. This was so appropriate that it immediately lightened my dark mood.
But, as I told John, I couldn’t have successfully achieved this without Saturn, which in my
To do this, I discovered the hard way, is a Promethean act, defying the gods, as my Capricorn friend, Susanna reminded me when she handed me the work she had created(above), when I was experiencing the crisis which led to the leap I just made, blogging for the Huffington Post, and therefore bringing this year=long experiment in blogging as the bridge to deliver a new movement my personal consciousness to the collective consciousness. The sign appeared in a tarot reading before I left for Dublin, to deliver my paper, “Applying the Heisenberg Principle to 21st Century Art.”
Saturn is the birth canal. It creates pressure, the crystalization of structure that has been growing with the birth of a new seed. Everything that is born must come from a seed, whether it is human life from the semen or organic life. The Greeks understood this, which is why they made the sign for Capricorn, the ruler of Saturn, the sea goat. The quality of the body and its dissolution, forming and reforming, is what establishes the new structures. Capricorn is a feminine sign, as the Pagans well knew, ruling the end of the growing season as well as the death and rebirth of the Sun at the Winter Solstice.
The Mercury Ingress chart for Sagittarius was key, as it had the Moon EXACTLY conjunct my natal Saturn on the descendent. Well, I have always heard astrologers say that the Moon is the trigger for fated, or conversely destined, timings. And this certainly was the case here. I sent an e-mail to the arts editor of Huffington Post at this precise moment:
And the response was immediate. Her magical words: “What are we waiting for?”
Two days later, I was launched as an official Huffington Post blogger, the fulfillment of a wish made in exchange for the devilish cookie, I had to write down an obstacle to be removed.
And so it is.
In 1992, I met a shaman, the adopted son of the son of Black Elk, who set me on the path that is culminating, at last, after an excruciating 18 year journey. He told me that we have never seen the true face of the feminine because she has been in exile for so long. He took me to my first Native American sweatlodge, where I saw her face arising from the womb of the Great Mother, the inipi. And that was it! I was on my journey!
This Full Moon is powerful. In New York City, the chart has a 23 degree Leo Rising with the Neptune/Chiron conjunction in Aquarius on the descendent. Opposite the natal chart of this blog (which will have a one year anniversary on November 23), it provides me with the personality I have been seeking: one that integrates pop and a new daring of intuitive feminine intellect that dares to wear high heels and jeans at a panel!
In New York City, with the Lunation in the Third House, this New Moon in Scorpio is, ironically, about communication. The dynamism of the opposites and the WILL (Leo Sun) to present the feminine face Neptune (conjunct Chiron) in Aquarius as a mutual reception with Uranus in Pisces. This mutual reception won’t be in existence much longer, as Uranus will return back to Aries and Neptune will be in its home sign of Pisces by next spring. So, this is a crucial opening with a “look before you leap, and she who hesitates is lost” mood indicated in the fear that is obstructing (Saturn in Libra) the call for commitment, crystalization of the new paradigm (holistic) forms by the North Node in Capricorn conjunct Pluto in the Fifth House of creativity and fame.
The chart above is marked by a Yod to the Midheaven in Taurus, the sign ruling art as well as beauty. The two legs of the yod are Venus in Libra (which rules the aesthetic of art) and Mars in Sagittarius in the Fourth House of personal truth. So, here the personal myth transforms (Jupiter ruling Mars in the Eighth House of death and resurrection) into the universal, a crucial passage for the ascent of the “face of the feminine.”
I spent the Dark Moon last night with Kalliopi Minioudaki, whose given name in her native Greek means “beautiful of face.”
She is a native of Crete who has excavated the “face of the feminine” in Pop Art, coining the term, ”protofeminist” as well as a new postfeminist dialectic in contemporary art!
This to was magically fitting, that we connected again, one month later, at the March 23, 2007 of the Sackler Gallery’s premiere exhibition, “Global Feminisms” co-curated by her adviser, Linda Nochlin, famous for her essay “Why Have There Been No Great Women Artists?” evoked in the introduction to the Women Pop Artists catalog by curator Sid Sachs.
On that occasion, Kalliopi was wearing a hear tshaped Marilyn T-Shirt, announcing, by her strong persona, a new era in which intellectuals are no longer afraid to tackle the Pop culture!
Such a willful resurrection of the” face of the feminine’ makes this exhibit so crucial to the restoration of the hieros gamos as an unifying icon to a renewed holism in art.
In an October 30 panel at the Brooklyn Museum revealed that Kalliopi Minoudaki:
ISN’T AFRAID TO TACKLE THE MALE CANON…
ISN’T AFRAID TO TACKLE THE MALE APPROPRIATION OF PLEASURE:
ISN’T AFRAID TO TACKLE THE FEMINIST DIALECTIC:
Minioudaki restores eroticism to feminist art through an evolutionary intellect — the marriage of feminine intuition with masculine decisiveness. The energy of pleasure and aliveness just jumps off these “protofeminist” works, as it does from the woman who brought them together, first in her Ph.D. thesis and then for this show.
DON’T MISS IT!
An artist e-mailed me.
What’s Venus up to these days? Clothes on? No clothes on?
This prompted me to do the chart for her helical rise as Morning Star before dawn tomorrow, (November 5). The helical rise is when Venus is at her brightest.
Venus has been in the Underworld since turning retrograde on October 8 at 13 degrees Scorpio.
It is a rainy day here and there will be clouds tonight, but tomorrow at dawn, if it were to be clear, we could see Venus rise as the Morning Star. She rises in the dark moon, as the New Moon is just after midnight. So, she is alone without the Crescent Boat to support her on a new journey. Supported by the Dark Moon, she is soooo mysterious. She has much to say but her mouth is silent. Rather, her art speaks for her.
My friend was wondering what would be a good date in March for her debut of a new project. Well, what would be a better date than the Vernal Equinox, so I looked up the time and did the chart. And wow!
What is really astounding me, in real time as I write this, is the realization that in New York City both charts — the Venus Helical rise conjunct the Moon and the Vernal Equinox — have the EXACT degree rising! Which means the NEW (Uranus conjunct the Sun at the moment of the astrological New Year) is indelibly linked to the artists rising from Underground at the time of her helical rise on November 5.
I suspect that imbedded in this pattern that the magic thread between Inanna and myself has uncovered is a ready made myth communicated through an e-mail. Inanna, rising but still in retrograde motion is in her Mother’s Garden, tending to the Persephone consciousness as she finishes up her artistic offering for the Vernal Equinox, when the (r)evolution hits home! The Sun aligning with Uranus at 0 degrees Aries!
What gift (Moon in Libra) does Venus bring for the collective (Moon conjunct Saturn)? The chart says the beauty, an authentic radiant inner beauty, is emanating from the very essence of the persona (First House) of those who have made the underground journey to embody her!!
This is just a taste of the magick I experience with Inanna. I had been excavating the ancient Sumerian love goddess for 20 years. And through her musical journey we understand that embodying this powerful archetypal energy is not simply a destination, but a journey!’
Venus at helical rise is 10 degrees from the Sun. Mythologically, it represents Venus entering the light of a new archetype. This cycle is Scorpio, and she was last here in 2002. When she enters the First Gate on December 2, she will no longer be naked. She is in the same degree as she was at Helical Rise but has the extra month as preparation for a new journey, ushered in protection of the Crescent of the waning Moon.
This is a spectacular chart! And utterly ironic! I wrote above, before seeing the chart, that she would no longer be naked. I sensed something significant when I saw the timing: almost Noon, meaning the Sun is directly overhead, though at a low angle as it approached the Winter Solstice.
No longer naked to the world, that is, but completely naked in a deeply sexual relationship. A real (Saturn) partnership (Libra), a Sacred Marriage (Scorpio in the Eighth House) which redefines a holy union for a new modern age, that is a sexual intercourse that is balanced and equal. Yes, this seems to be a dream (Neptune/Chiron conjunct in Aquarius on the ascendant) but it is real! It has to be real, with Saturn, the planet of Karma, in the sign of relationship. This model that Venus will show us in her rise is a relation that shifts the collective consciousness (the alignment of Mercury/Pluto/North Node. There will be plenty of publicity with Sun on Midheaven in Sagittarius, aided by Mars and boosted by Pallas Athena, the publicity strategist!
This Scorpio cycle is about the rise, at long last, of the humans becoming conscious of the kundalini power and incorporating it into their bodies, their relationships and the culture itself. The approach is strong as Aries but couldn’t be any different: Aries was all about movement; this is about stillness.
So what do I tell Inanna? There is time, I tell her in my e-mail response, time until Venus goes direct on November 17. Feisty for action, she will be in the Virgo House of Work, work, work – getting her various body parts together — because she has to content with a fiery Moon, ravenous to live (Aries) the New that is still in the collective unconscious, yet is awaiting her journey to and beyond the Spring Equinox to manifest!