![]() In my ever humble opinion, of course.Īgree, when it comes to quarters which are kinda new for me. But for people with average eyes, the only winner is the grading service. People with good eyes can make a lot of money "making coins". With much love and respect, if you were seriously considering spending $30 getting that quarter graded, you should probably not make any coins until you've gained a little more experience. I can't help myself, its more fun to make the coin than it is to buy it off the shelf. I have decided against that and instead using the money for grading fees. I've gotta get out and find me some new stuff today! By the way, after selling a good portion of my silver (2,000) to spend on one newp. The magic, sometimes, is in the making.That bad? The luster looks great but I guess the strike is weak? They also explore it in the literal sense of paint that can alchemise from one colour to another, or the alchemy of how materials transform within the process of making a sculpture. Likewise these artists hint at the concept of alchemy, transforming viewers’ notions about certain ideas (such as what the nature of magic or witchcraft might be). Both use ritual as a tool, whether these are long-established traditions or of their own creation, with the aim of catalysing either personal or social transformation. Throughout the exhibition, a link is drawn between the practice of the artists and that of occult practitioners. She uses humour to explore ideas around sex positivity and sexual violence, reimagining scenarios of gender-based power-play. Working across video, performance art, costume, ceramics, drawing and painting, she creates characters that act out an “ongoing series of psycho-sexual scenarios”. Goyette’s vibrantly coloured portraits are particular standouts. Her works visualise this sense of communion, showing bodies and multiple entities conjoined through spiritual and traditional symbols into a single being. ![]() ![]() Guzman merges influences from Caribbean spiritual traditions with examinations of “chaos, improvisation and ecstasy”, while Singapore-born, Brooklyn-based Sahana Ramakrishnan combines references from Asian, African and European traditions in order to create paintings that demonstrate ideas around spirituality and communion. She has created an interactive textile installation that invites the audience to perform a simple ritual to manifest their own wishes, “in order to question the power of rituals and the belief that can transform the mundane to magical”. Najm’s work involves the sharing of rituals for “healing, emotional regulation and survival,” which the artist says have helped her on a personal level to navigate the pandemic and the enforced isolation caused by it. Just as Abichandani marries traditional deities with modern feminist impulses, Najm challenges Islamophobia and examines the laws and cultural norms that are used to govern women’s bodies. She merges ideas from Hindu art and Hinduist goddess worship to create feminist sculptural pieces that critique aspects of the patriarchy, while also exploring ideas of rebirth. Frequently these influences are merged with contemporary tropes, as in the work of Abichandani. Many of the artists in the show draw on their own cultural backgrounds and spiritual histories to inform their work. The exhibition-entitled Everyday Magic: Artistic / Gnostic Impulses-features works by artists including late industrial-noise provocateur Genesis P-Orridge, Jaishri Abichandani, Courtney Alexander, Rebecca Goyette, Alejandro Guzmán, Clarity Haynes, Elizabeth Insogna, Qinza Najm, Micki Pellerano, Lina Puerta, Trish Tillman and Kay Turner. For many, these have taken on new significance during the pandemic, helping to forge a renewed sense of community. Many of these artists see themselves as ’spiritualists’, using processes such as rituals, spells or sigils that they have forged for their own artistic practice. However, in the case of this group exhibition at The National Arts Club in New York co-created by Jenny Mushkin Goldman and Rebecca Goyette, focused on magic and the occult, the term is uniquely relevant. ‘Ritual’ is a word that’s been hurled around ad nauseam when it comes to art jargon over recent years (see also: ‘liminal’ and ‘experiential’). Sahana Ramakrishnan Groping in the Dark, 2020
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