Wednesday, July 18, 2018

CFP for a special issue of The Pomegranate on Pagan Art and Fashion


A beautiful young woman drapes her long auburn hair over a human skull, pressing it close to her face like a lover. Another, clad in black and holding a wooden staff, poses like a model in a photo shoot on location in an incongruous forest. Long, elaborately decorated fake fingernails like talons grasp shiny crystals, evoking the “just so” beauty of a staged magazine spread. In the world of the Witches of Instagram, the art of photography meets business witchery and feminist activism.
Is it (still) the season of the witch? Luxury fashion house, Dior, has a tarot-themed collection; witchcraft featured in recent issues of Vogue magazine; young witch-identifying women perform “fashion magic”; and an alchemist-fashion designer has invented colour-changing hair dye, inspired by a scene in the 1996 movie, The Craft. An angry yet luxurious sex-positive feminism is in the air; goddesses, witches and sluts are rising up again, a decade and a half after Rockbitch stopped touring and almost thirty years after Annie Sprinkle’s first workshops celebrating the sacred whore.
Exhibitions showcasing the work of living and dead occult artists have been on the increase for several years now, most recently Black Light: Secret Traditions in Art Since the 1950s at the Centre de Cultura Contempor├ánia de Barcelona, and Barry William Hale + NOKO’s Enochian performance at Dark Mofo in Tasmania. Multidisciplinary artist Bill Crisafi and dancer Alkistis Dimech exemplify the Sabbatic witchcraft aesthetic; Russ Marshalek and Vanessa Irena mix fitness and music with witchcraft in the age of the apocalypse; DJ Juliana Huxtable and queer arts collective House of Ladosha are a coven; rappers Azealia Banks and Princess Nokia are out and proud brujas; and singer Lana del Rey admits hexing Donald Trump.
The Pomegranate: The International Journal of Pagan Studies invites submissions of articles (5000–8000 words) for a special issue on Pagan Art and Fashion, edited by Caroline Tully (caroline.tully@unimelb.edu.au). How are Paganism, modern Goddess worship, witchcraft and magick utilised in the service of creative self-expression today? Potential topics might fall under the general headings of, but are not limited to, Aesthetics, Dance, Fashion, Film and Television, Internet Culture, Literature, Music, and Visual Art.
Submissions due June 15, 2019. 
Click for the for information on the submission process
Please note that The Pomegranate: The International Journal of Pagan Studies uses the University of Chicago Press notes-and-bibliography citation style.


Friday, September 29, 2017

Trees as Otherkin: Minoan Crete, Biblical Religion and Paganism Today

I've got a new article coming out in the next issue of Witches & Pagans Magazine #35 called "Trees as Otherkin: Minoan Crete, Biblical Religion and Paganism Today." This article derives from my PhD research on Tree Cult in the Aegean and Eastern Mediterranean from the Bronze to Iron Ages. 

Wednesday, September 27, 2017

New Roman Films for Decadence and Domesticity Exhibition.


As of the week starting 2 October, we'll be screening a montage of three black and white Roman-themed films in the Decadence and Domesticity exhibition: The Last Days of Pompeii (1913); Caius Julius Caesar (1914); and Messalina (1924). They are all FAB! 
The antiquities exhibition, Decadence and Domesticity, is part of The Arts of Engagement exhibition and is located on the ground floor of the Arts West Building at the University of Melbourne. It runs until 23 October 2017.

Sunday, August 20, 2017

Exhibition - Decadence and Domesticity - August 20 to October 23 2017




The antiquities exhibition, Decadence and Domesticity, which I have curated for the Arts West Gallery (located on the ground floor of the Arts West Building at the University of Melbourne) opened today. Decadence and Domesticity features Graeco-Roman antiquities, rare prints and books and is concerned with the theme of the Domus (house) and its iconography. The exhibition consists of three main sub-themes: Domestic Cult, Women’s Beautifying Procedures, and Feasting. It is made up of seven displays: the first and second cases concern religion and focus on the deities Cybele and Silvanus, the third case displays objects related to women and cosmetics, the fourth case features Roman terra sigillata pottery, the fifth case Syracusan coins, and the sixth case displays Greek and Roman terracotta lamps. On the wall opposite is a frieze consisting of Pompeiian frescoes and a TV screen featuring the feast scene from Fellini’s 1969 film the Satyricon. Decadence and Domesticity is one of three exhibitions within the Arts West Gallery; the other two being Transforming Space by Simon Young and his company Lithodomos, which is about 3D Reconstructions of ancient sites and immersive virtual reality experiences; and (re-)Producing Power by Annelies Van de Ven which uses plaster casts and copies of Mesopotamian antiquities in order to explore concepts of power expressed in material culture and the acquisition and control of knowledge. Together, these three exhibitions are part of The Arts of Engagement exhibition which opened today, 20 August and runs until 23 October 2017.