Over the past year or so, it seems I keep running into artistic responses to the book of Revelation. There was the “Apokalipsa” icons exhibition held in Nowica, Poland, in fall 2016, to which thirty-six artists contributed (see photos, plus this Artful Devotion); then last September there was the release of the book Picturing the Apocalypse: The Book of Revelation in the Arts over Two Millennia, which I mentioned in an earlier roundup. What’s more, this April, Pillar Church in Holland, Michigan, was awarded a Vital Worship Grant by the Calvin Institute of Christian Worship “to enrich worship by collaboratively creating artistic liturgical resources inspired by the book of Revelation in order to promote a rich engagement with Scripture.” I’ll be interested to see what they come up with!
Now I see that the Association of Scholars of Christianity in the History of Art (ASCHA) is calling for papers on the topic of “Waiting for the End of the World: Eschatology and Art 1850–2000,” for a symposium to be held February 11–12, 2019. Proposals due by September 4.
After 1850, religious subjects became increasingly suspect among modernist artists determined to paint only what the eye can see. Gustave Courbet’s pronouncement, “show me an angel, and I’ll paint one,” exemplified a new, more skeptical orientation. Nevertheless, historical forces and personal motivations compelled many artists, working across a spectrum of materials and visual methods, to directly employ or obliquely reference themes of the Last Judgment and the Apocalypse. Over a century that saw two world wars, economic booms and devastating depressions, the rise and fall of ideologies of left and right, the collapse of colonial empires and the chaos of failed states, the threats of nuclear annihilation and ecological degradation, artists frequently turned to eschatological imagery to visualize the experience of modern life.
The Last Judgment described in the sacred texts of the Abrahamic religions threatens damnation and promises redemption for both the individual and society. This symposium will explore the way that apocalyptic beliefs and imagery—Jewish, Christian, and Islamic—have informed the work of avant-garde artists from all regions of the globe. We invite proposals for 20-minute papers of original research that explore questions such as, but not limited to: What different visual languages have artists used to address the idea of the end of the world? What meanings have they found in the eschatological narrative? How are cultural differences and similarities manifested in their work? To what extent is the teleological narrative of modern art a disguised, secular version of a theological narrative?
Another recent release, from December 2017, is the poetry collection What Will Soon Take Place by Tania Runyan, “an imaginative journey through the book of Revelation” that “offers a poet’s view of the prophetic, not in the sense of seeking out clues to the ‘end times,’ but a means of taking this strange, fantastic book of scripture and letting it read its way into personal lives.” I love Runyan’s poetry (all the poets published by Paraclete are great), so this volume is near the top of my to-read list. Check out “The Angel Over Patmos” and “The Great Throne,” and see the promo video below, with an excerpt from “Vision of the Son of Man.”
Also from 2017, a collage by Nicora Gangi inspired by medieval Last Judgment triptychs. Commissioned by Spark and Echo Arts, Kiss the Son calls on us to love Christ with sincere affection, adorning his feet with kisses like the woman in Luke 7. The left panel shows a heap of humanity’s various “golden calves,” those things we worship that only lead to death. This is contrasted on the right with the New Jerusalem, where the Lion and the Lamb sit atop a cascade of glory. At the bottom of the central panel is the city of destruction, the destination of those who give Christ the betrayer’s kiss; the snake-like forms recall the Evil One who deceived Adam and Eve and plummeted humanity into alienation from God. Above, though, the Son shines brightly, inviting all the reconciled into his loving presence.
Lastly, though it was released in 2013, I just recently discovered The Lamb Wins by the Lesser Light Collective, an album of thirty-plus original songs by fifteen-plus artists based on John’s Apocalypse. My favorite song is “The River and the Tree of Life.”
Oh yes, and because I just finished reading the massive Collected Poems of Thomas Merton, here’s a short, thematically relevant excerpt, from “Figures for an Apocalypse: VIII. The Heavenly City” (page 148):
Shine with your lamb-light, shine upon the world:
You are the new creation’s sun.
And standing on their twelve foundations,
Lo, the twelve gates that are One Christ are wide as canticles:
And Oh! Begin to hear the thunder of the songs within the crystal Towers,
While all the saints rise from their earth with feet like light
And fly to tread the quick-gold of those streets . . .
Update: On June 28 and 29, 2018, the Centre for the Critical Study of Apocalyptic and Millenarian Movements (CenSAMM) in the UK hosted the conference “Apocalypse in Art: The Creative Unveiling.” All the talks, given by various scholars, have been added to the organization’s media archive. They address the theme in Hans Memling, Albrecht Dürer, William Blake, James Hampton, Keith Haring, Michael Takeo Magruder, David Best, Bob Dylan, and more.