EXHIBITION: Here After, Bridge Projects, Los Angeles, May 7–July 30, 2022: This latest offering from the spirituality-forward art gallery Bridge Projects looks amazing! I appreciate their commitment to featuring religiously and ethnically diverse artists, as well as a range of styles and media.
The group exhibition features thirty-seven artists who explore the idea of paradise—both how it has been pursued on earth across history, and how it is imagined after life. From Pure Land Buddhism’s chant “Namu Amida Butsu” (“I take refuge in Amida Buddha”) to Christianity’s prayer for the Kingdom to be “on earth as it is in heaven,” the concepts of paradise are as diverse as those who hope for it.
In Here After, works like William Kurelek’s Farm Boy’s Dream of Heaven (1963) envision an eschatological beyond in figurative form, while works by Bonita Helmer and Zarah Hussain do so in more abstract terms. Andrea Büttner and Claire Curneen’s works point to a vulnerable, sensual bodiliness, embedded in the surface of the world where all things come to pass. There is a land beyond the river by Gyun Hur and Tuan Andrew Nguyen’s The Boat People make space for remembrance of those who have passed, while Afruz Amighi, Mercedes Dorame, and Charwei Tsai position the viewer between worlds, feet firmly planted on the ground yet gazing at the glory and wonder of the beyond. In his installation Skywall, David Wallace Haskins plunges into the boundless sky and its immaterial light, letting all the expansive beauty grip the viewer. Kate Ingold intones the rhythmic mantras of what the divine is not with minute stitches, employing almost impossible patience to painstakingly outline absence. Kris Martin lodges small contradictions in the mind, which, in time, grow to be distracting puzzles—the candle in a sealed box, whose existence cannot be proven with the senses. And Tatsuo Miyajima uses digital counters to display the uncountable, unending dimension of existence.
>> “O Jesus, Crowned with All Renown,” performed by Jon and Amanda McGill: The Monday to Wednesday preceding Ascension Day is known as Rogationtide, a short liturgical period (observed by most Anglicans, Episcopalians, Catholics, and others) in which we pray that God blesses the crops so that they yield a good harvest. It falls on May 23–25 this year. The hymn “O Jesus, Crowned with All Renown” is especially associated with the Rogation Days. It was written in 1860 by Edward White Benson, archbishop of Canterbury, and is typically paired with the tune KINGSFOLD.
O Jesus, crowned with all renown,
Since thou the earth hast trod,
Thou reignest, and by thee come down
Henceforth the gifts of God.
Thine is the health and thine the wealth
That in our halls abound,
And thine the beauty and the joy
With which the years are crowned.
Lord, in their change, let frost and heat
And winds and dews be giv’n;
All fostering power, all influence sweet,
Breathe from the bounteous heav’n.
Attemper fair with gentle air
The sunshine and the rain,
That kindly earth with timely birth
May yield her fruits again.
That we may feed the poor aright,
And gathering round thy throne,
Here, in the holy angels’ sight,
Repay thee of thine own:
That we may praise thee all our days,
And with the Father’s name,
And with the Holy Spirit’s gifts,
The Savior’s love proclaim.
Spiritual director and writer Tamara Hill Murphy explains the meaning of Rogationtide:
“Rogation” is derived from the Latin verb rogare, which means “to ask.” In the liturgies of Rogation Days, we ask the Lord to bless the fields, the crops, and the hands of farmers who produce our food. Worship on Rogation Days teaches us that we depend upon God’s favor over his land. We ask him for goodness over not just an abstract idea of our “land” but the very real earth beneath our feet in our backyards, our neighborhoods, and whatever part of the earth our feet hit the ground. As we’ve become a post-industrial society, the prayers for Rogation Days have expanded to include not only prayers for farmers and fishermen, but also for commerce and industry, and for all of us as stewards of creation.
>> “The Twelve: An Anthem for the Feast of Any Apostle,” words by W. H. Auden and music by William Walton: In 1965 the dean of the choir school at Christ Church, Oxford—Dr. Cuthbert Simpson—approached poet W. H. Auden and composer William Walton to write a choral anthem for use on apostolic feast days. “The Twelve” is the result. In this video filmed at Keble College, Oxford, in July 2021, it is performed by the vocal ensembles VOCES8 and Apollo5 (both directed by Barnaby Smith), with Peter Holder on organ. Learn more about the background and structure of the anthem here.
This performance appears on Renewal?, a concept album released February 25 that combines new works by Paul Smith (cofounder of VOCES8) and Donna McKevitt with works by three influential modern composers: William Walton, John Cage, and William Henry Harris. “Multifaceted texts by Lal Ded, Edmund Spenser, W. H. Auden, Lord Byron, Pablo Neruda, Maya Angelou, and Edna St. Vincent Millay offer space to consider our world, past and present, and meditate on a response to build a better future.”
You can read the full text of “The Twelve” in the YouTube video description. It begins,
Without arms or charm of culture,
Persons of no importance
From an unimportant Province,
They did as the Spirit bid,
Went forth into a joyless world
Of swords and rhetoric
To bring it joy.
Ascension Day occurs every year on the Thursday that falls forty days after Easter (see Acts 1:1–3). This year it is May 26. Here are two Ascension-themed visual meditations from ArtWay.eu.
>> On the Reidersche Tafel, by Nigel Halliday: This ivory bas-relief, which was probably originally embedded in a book cover, is the earliest known representation of the Ascension. It shows Jesus striding up a mountain, being pulled up into heaven by the hand of God the Father. (Mark and Luke use the passive voice to describe the Ascension: “he was taken up into heaven.”) He is dressed in a toga and holding a scroll. Learn more from Nigel Halliday at the above link, or visit this Instagram post I made two years ago.
>> On Ngambuny Ascends by Shirley Purdie, by Rod Pattenden: Ngambuny is the Gija name for Jesus. Aboriginal Australian artist Shirley Purdie sets his ascension within the indigenous landscape of the Bungle Bungle Range, using her characteristic style of dotted outlines. “Purdie draws on her cultural tradition to locate the presence of God within the skin of her land,” writes the Rev. Dr. Rod Pattenden. “Her work is literally painted with the earth, as she collects ochres from the land she is responsible for and mixes it with glue to attach to her warm hued canvases.” Pattenden offers a fascinating reading of Purdie’s Ngambuny Ascends, discussing the use of black ocher, God as Creator Spirit alive in the earth, and more.