Another example of such synergy between art and mysticism is the collaboration between occultist Aleister Crowley and artist Lady Frieda Harris to produce the Thoth Tarot paintings. For Crowley and Harris, as with af Klint, the use of artistic media and skill was a vehicle for spiritual communion and divination. What many would likely consider spurious beliefs were the fuel behind many artistic productions at the turn of the 19th century. This includes W.B. Yeats, who was highly influenced by Rosicrucianism — as was af Klint. This strand of occultism also inspired certain sects of the French Symbolists, which the Guggenheim has previously exhibited.

All of these movements were a part of a reaction to increased rationalism in the West. The artistic need to compensate against materialism was often found by looking towards the East, or into their own intuition. The products of such spiritual and artistic efforts are still foreign to the the common modern mind, which is so influenced by science.

Questions on the Function of Art

Additionally, a contemporary examination of af Klint’s work, as well as the above examples, challenges today’s notions of “art.” Today’s typical art fair or gallery show tends towards an aestheticization of psychological material. In other words, what was originally a sort of gestalt from the artist is looked at as object of sense pleasure. Or, oftentimes, the artist’s works are analyzed biographically, or intellectually described for their contextual meaning.

This is the reverse of af Klint’s goal, which was the utilization of the visual object as a prompt for direct communion with the spiritual realm. That is, she saw painting as a vehicle for experience, rather than an end in and of themselves.

Hilma af Klint’s work represent a woman’s search for spiritual meaning — like reading the Upanishads through painting. Therefore, they may not function as “art” in today’s context of the word — which is a form of “visual candy” that hangs on the wall, or sits in the middle of the gallery’s white cube.

This consideration of the purpose of art today may be a vital conversation, as an addition to questions regarding the historical role of gender in art history – the latter of which has surrounded this current af Klint exhibition.

The history of artists, such as af Klint, who sought transcendental truth through visual representation may prompt viewers and curators to think of novel ways of dealing more experientially with art. Additionally, the ways in which the party aspect of the “After Dark” event fell short, may bring about a deeper inquiry into how to improve artistically orientated night life.