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, crystallization 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!
Appropriately, for what has been a very magickal journey, we met through this open door in the silver lobby of the Gershwin Hotel guarded by Andy Warhol’s Marilyn.
Presently, she is co-curator of a crucial exhibition, Seductive Subversion: Women Pop Artists 1958-1968 at the Elizabeth A. Sackler Gallery for Feminist Art, Brooklyn Museum.
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 heart-shaped 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 a 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:
- The panel turning their heads to see Minioudaki’s slide, “Feminism Turned its Back to Pop Art”
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.
Critical Trilogy Vol. 1 
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