Lent 2018 exhibitions, installations, and art trails

Besides the self-guided “Stations of the Cross” audio tour of the Smithsonian’s American art collection, here are some other opportunities to engage in person with visual art this Lent:

Crossings exhibition view
Hanging the “Crossings” exhibition at Southwell Minster. Pictured at left: Enzo Marra (British, 1975–), Observers Raphael (The Mond Crucifixion), 2018. Oil on board, 24 × 20 in. Photo courtesy of the cathedral.

“Crossings: Art and Christianity Now,” February 9–May 10, 2018, Southwell Minster, Nottinghamshire, England: Featuring works in a variety of media by thirty-six contemporary artists, this major exhibition will unfold in two parts: “Crucifixion Now,” on view during Lent through March 21, and “Resurrection Now,” on view during Easter from April 1 to May 10. Each artist produced two new works, one for each phase, exploring the twin aspects of the gospel story: death and new life. Supporting events include music, lectures, workshops, and a conference on March 10, “The Spirit in Art Now.” Entry is free, and exhibition guides (with color photos and descriptions of all the artworks) are available for £5.

One outstanding work from the exhibition is a triptych by Sophie Hacker (artist previously featured here), formed from a variety of found materials, including cedarwood, Icelandic black sand, rusted metal, and metallic leafs. During Lent it will remain closed, showing a jagged cross “marked with stark wounds” against a background of soil and blood, but on Easter it will open, “giv[ing] way inside to rounded forms and lustrous colours, revealing all at once the stone rolled away, the cave filled with glory and the triumph of God in Trinity.”

Crucifixion Now by Sophie Hacker
Sophie Hacker (British), Triptych: Crucifixion Now, Resurrection Now, 2017. Mixed media, 32 × 24 in. (closed).
Resurrection Now by Sophie Hacker
Sophie Hacker (British), Triptych: Crucifixion Now, Resurrection Now, 2017. Mixed media, 32 × 48 in. (open).

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“Chichester Art Pilgrimage Trail,” Chichester, West Sussex, England: A twelfth-century Norman-Gothic structure filled with medieval, Victorian, and modern art, Chichester Cathedral is a beautiful blend of old and new. I’ve come across many of its modern art treasures before in essays and books—the tapestry by John Piper, Noli me tangere by Graham Sutherland, the Icon of the Divine Light altarpiece by Cecil Collins, and Marc Chagall’s Psalm 150 window. All these artists, commissioned by Walter Hussey (one of the twentieth century’s biggest champions of religious art), were giants in the field.

Psalm 150 window by Marc Chagall
Stained-glass window by Marc Chagall (Russian/French, 1887–1985), installed in Chichester Cathedral in 1978. Photo: Jonathan Evens.

These pieces and more are the subjects of an audio tour released this Lent on the Alight app. (If geography prevents you from walking the trail in person, travel it from your armchair, like me!) Starting at one of the three old Roman gates to the walled city, the trail runs via the “market cross” to the cathedral, with thirteen stops inside. Besides those listed above, they are the rare Anglo-Saxon Lazarus reliefs, the Arundel Tomb, the Lambert Barnard panels, the nineteenth-century south transept window, a St. Richard icon, The Baptism of Christ by Hans Feibusch, the Anglo-German Tapestry by Ursula Benker-Schirmer, The Refugee by Diana Brandenburger, and Five Wounds by Michael Clark. The latter two, pictured below, are new to me; in addition to learning more about them through the Alight commentary, you can also read a discussion group report (a debrief of visitor reactions) on the Bishop Otter Scholar’s blog.

The Refugee by Diana Brandenburger
Diana Brandenburger (British, 1932–2008), The Refugee, 2008. Bronze. Chichester Cathedral, West Sussex, England. Photo: Keith Gulliver.
Five Wounds by Michael Clark (detail)
Michael Clark (British, 1954–), Five Wounds (detail), 1994. Layers of glaze on five canvases, 2.2 × 2.2 in. each. Chichester Cathedral, West Sussex, England.

Clark’s piece comprises five tiny canvases built up with layers of jewel-like glaze and set into the cathedral’s walls—two at the west end (representing Christ’s foot wounds), one in each transept (hand wounds)—and high altar (side wound). The Rev. Canon Dr. Anthony Cane, chancellor at the cathedral, says,

When I see Michael Clark’s Wounds of Christ, they remind me that the imposing cathedral building would not exist without the particular flesh and blood of a human life, a life visibly marked by suffering. The five wounds are mapped onto the cruciform shape of the architecture, so that the very space I walk through becomes the body of Christ. Most artworks are looked at; this one is lived within.

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“Stations of the Cross” in New York City, February 14–April 1, 2018: After success with the “public art pilgrimage” model they used in London in Lent 2016 and then later in Washington, DC, Aaron Rosen and a team of other Christian theologians and art writers decided to organize a contemplative journey across Manhattan. Weaving through religious as well as secular spaces, from The Cloisters museum to the Cathedral of St. John the Divine to the 9/11 Memorial, this trail aims to raise awareness of those in need of refuge through art. The same app that hosts the Chichester Art Pilgrimage also hosts this Stations tour, providing easy navigation through the city and audio commentary on each artwork. Participating artists come from different faith backgrounds, and programmed events include concerts, artist talks, panel discussions with local refugee organizations, and interfaith scripture readings related to hospitality and care for the stranger. The next event is Monday, February 26, at 7 p.m.: a free performance of Marcel Dupré’s Stations of the Cross organ suite at St. James’s Church.

Sacrifice/Embrace by Nicola Green
Nicola Green (British, 1972–), Sacrifice/Embrace, 2010. Silkscreen print, 152 × 102 cm (paper) / 64 × 64 cm (image). No. 6 of 7 from the series “In Seven Days.”

I found Nicola Green’s Sacrifice/Embrace silkscreen print, on view as station 7 at the Church of St. Paul the Apostle, particularly engaging. Read or listen to Fr. Frank Sabatté’s reflection on the work on the Art 2018 page.

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“Through Light,” February 23–April 8, 2018, Patmos Art Center, Community of Jesus, Orleans, Massachusetts: In this two-person show of abstract sacred art, Italian Catholic artist Filippo Rossi and American Protestant artist Susan Kanaga, CJ, explore imagery of light. I’ve been to the ecumenical monastery on Cape Cod where this exhibition is being held and had the privilege of seeing both artists’ work there on the grounds. I don’t usually take to nonrepresentational paintings, but theirs drew me in richly. If you attend the exhibition, be sure to spend some time nearby inside the beautiful Church of the Transfiguration and Priory Books and Gifts. (Paraclete Press, whose catalog is full of books on the visual and literary arts and choral music recordings, is the publishing arm of the Community of Jesus.)

Kanaga-Rossi-01
LEFT: Filippo Rossi (Italian, 1970–), Reflections (detail), 2017. Acrylic, gold leaf, wax, and polystyrene, 220 × 120 cm. RIGHT: Susan Kanaga, CJ (American, 1954–), Joy, 2017. Acrylic, mixed media, gold leaf, and gold smalti on canvas, 20 × 20 cm.

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INSTALLATION: Doubt by Susie MacMurray, February 14–March 30, 2018, Southwark Cathedral, London: For the seventh year in a row, Southwark Cathedral has commissioned a contemporary art installation during the season of Lent. This year Susie MacMurray has created a large nest of black plastic netting suspended from the ceiling above the high altar, evoking a dark cloud; it’s called Doubt. The Very Rev. Andrew Nunn, dean of Southwark, says,

Popular imagination might expect faith to be lived out in bright clear sunshine, but from that moment when Moses climbed the holy mountain, shrouded in cloud, and experienced the presence of God, [darkness] has been a familiar experience and theme. . . . And as Jesus died on the cross the clouds brought night into day and the onlookers were plunged into darkness.

Doubt by Susie MacMurray
Susie MacMurray (British, 1959–), Doubt, 2018. Plastic netting. Southwark Cathedral, London.

An embodiment of the difficulties of faith, the cloud is nevertheless made of open mesh that allows some light to pass through. As sub dean Michael Rawson points out, “As you look at the cloud, above is a representation of Jesus in the stained-glass window, so Jesus is shining through that cloud of doubt.”

I like the concept but am unsure how I feel about its dominant placement in the sanctuary. I’ve only seen photos, but its presence seems oppressive, like it could impinge on worship. I’d be interested to hear how parishioners have responded.

To see more of MacMurray’s site-specific installations, click here.

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INSTALLATION: De profundis by Miguel Rothschild, St. Matthew’s Church, Berlin: Over eight meters long and suspended by 1,500 strands of fishing wire, the fabric installation De profundis by multimedia artist Miguel Rothschild mimics the texture of an ocean surface. Its title is the Latin incipit for Psalm 130, translated as “Out of the depths” (it’s a traditional Lenten practice to pray the penitential psalms):

De profundis by Miguel Rothschild
Miguel Rothschild (Argentinian, 1963–), De profundis, 2018. Print on fabric, fishing line, lead balls, 900 × 800 × 400 cm. St. Matthäus-Kirche, Berlin.

Out of the depths I cry to you, O LORD!
O LORD, hear my voice!
Let your ears be attentive
to the voice of my pleas for mercy!

If you, O LORD, should mark iniquities,
O LORD, who could stand?
But with you there is forgiveness,
that you may be feared.

I wait for the LORD, my soul waits,
and in his word I hope;
my soul waits for the LORD
more than watchmen for the morning,
more than watchmen for the morning.

O Israel, hope in the LORD!
For with the LORD there is steadfast love,
and with him is plentiful redemption.
And he will redeem Israel
from all his iniquities.

Recalling the medieval German liturgical use of what’s known as a hungertuch (read more here), the fabric will cover the high altar until Easter. Water has many associations in the Bible, both positive and negative. Sometimes it signifies judgment, as in the story of Noah, or turbulent suffering, as in Psalm 42:7 (“Deep calls to deep at the roar of your waterfalls; all your breakers and your waves have gone over me.”). But God’s praiseworthy righteousness is also referred to as a “mighty flood” that crashes into our moral deserts (Amos 5:24), and the psalmist proclaims, “With you is the fountain of life” (Psalm 36:9). Rothschild’s installation, which looks like a rushing stream inundating the sanctuary, is a strong and multivalent visual—and I imagine it’s all the more so for those who live with it for weeks as worshipers in that space.

De profundis (detail) by Miguel Rothschild

Reformation Roundup

FIVE R’S FOR REFORMATION COMMEMORATION

As a guard against Reformed hubris, Churches Together in England has issued a statement urging churches to mark the Reformation’s fifth centenary with sensitivity to other branches of the faith, providing 5 R’s as guidelines. Keep the anniversary, it says, with the spirit of

Rejoicing – because of the joy in the gospel which we share, and because what we have in common is greater than that which divides; and that God is patient with our divisions, that we are coming back together and can learn from each other.

Remembering – because all three streams of the Reformation have their witnesses and one church’s celebration could be another’s painful memory; and yet all believed they acted in the cause of the gospel of Jesus Christ for their time.

Reforming – because the Church needs always to grow closer to Christ, and therefore closer to all who proclaim him Lord, and it is by the mutual witness of faith that we will approach the unity for which Christ prayed for his followers.

Repenting – because the splintering of our unity led us to formulate stereotypes and prejudices about each other’s traditions which have too often diverted our attention from our calling as witnesses together to the mercy of God in proclamation and service to the world.

Reconciling – because the call to oneness in Christ begins from the perspective of unity not division, strengthening what is held in common, even though the differences are more easily seen and experienced.

This is not to say we can’t celebrate the achievements of the Reformation (we certainly should!), but we ought not to do so with denigration toward our Catholic brothers and sisters, nor hold our own branch above reproof. All church history, before and after the major splits, is our history as a body. Read the full CTE statement here. For other initiatives to foster common witness, service, and understanding between Protestants and Catholics, see the documents “Evangelicals and Catholics Together” (1994) and “Joint Declaration on the Doctrine of Justification” (1999).

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ECUMENICAL ARTS SYMPOSIUM

The last two weekends in October will cap off the international “Arts and Ecumenism” symposium organized by the Mount Tabor Ecumenical Centre for Art and Spirituality to commemorate the five hundredth anniversary of the Reformation. With events in Paris, Strasbourg, and Florence, the symposium is now coming to the US to continue the discussion on Catholic and Protestant approaches to art.

The penultimate session, “Sacred Arts in North American Contexts,” will take place October 20–21 at Yale University. “Arts in Celebration: The Word in Color, Action, Music, and Form,” the final session, will take place October 27–29 at the Community of Jesus in Orleans, Massachusetts, and will include demonstrations of mosaic, fresco, and Gregorian chant; lectures and panel discussions with Timothy Verdon, William Dyrness, Deborah Sokolove, and others; exhibits of contemporary sacred art by Susan S. Kanaga and Filippo Rossi (view the catalog); liturgies of the Divine Office and Holy Eucharist; an organ recital; and a fully staged presentation of Ralph Vaughan Williams’s opera The Pilgrim’s Progress, performed by the community’s critically acclaimed Gloriae Dei Cantores choir and Elements Theatre Company. Click here for the schedule.

I stayed at the Community of Jesus last week, and trust me, $425 is a great price for two days and nights at this beautiful Cape Cod monastery, with its Benedictine hospitality, and access to a high caliber of visual, musical, and dramatic art and prominent voices in the field of Christianity and the arts. But the best part, I think, will be the opportunity to inhabit the ecumenical vision the community has established, whereby all Christians—Catholic, Protestant, and Orthodox—live together, eat together, and worship together. Some community members have taken vows of celibacy, while others have chosen marriage and live with spouse and children on the compound. Partaking of the Eucharist last Friday with brothers and sisters from other streams of Christianity and multiple generations was an experience I will not soon forget. Be sure to take advantage of the early-bird registration discount, which ends September 1.

(Click here to take a virtual tour of the Community of Jesus’s Church of the Transfiguration.)

Church of the Transfiguration
Church of the Transfiguration, Orleans, Massachusetts. Photo: Victoria Emily Jones
Vento by Filippo Rossi
Vento (detail) by Filippo Rossi, from the exhibition “Spirito Creatore”

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PAST LECTURE: “Visual Ecumenism” by Matthew Milliner: Milliner is an evangelical Anglican who teaches art history (his specialization is Byzantine) at a Protestant liberal arts college in Illinois. In this talk given April 7, 2017, at the Wheaton Theology Conference “Come, Let Us Eat Together!,” he discusses how we can “put on” other Christian traditions without losing our own by engaging their artistic output, by opening ourselves up to the material expressions of the gospel present all across the denominational spectrum:

I’m taking a particularly cherished part of my tradition—the law/gospel distinction—and showing that it can be found in other traditions as well. This might seem like I’m colonizing other traditions with my Protestantism, but I’m actually trying to strip my own tradition of its exclusive possession of this message and see it elsewhere, so that evangelicals can be at home in late medieval Catholic devotional manuals or in Russian Orthodox cathedrals. (19:04)

In reverse chronological fashion, he examines Lucas Cranach’s Law and Grace (Protestant), Berthold Furtmeyr’s Tree of Life and Death (Catholic), and the Sinai Pantocrator icon (Orthodox). Michelangelo’s late drawings and tomb for Pope Julius II are discussed in light of his involvement in the Spirituali, a Catholic reform movement in Italy that emphasized intensive personal study of scripture and justification by faith. More personally, Milliner describes how he was able to make it through repeated Hail Marys during a Catholic prayer service he inadvertently stumbled into one time and, on another Marian note, shares the Madonna of Mercy mural created last year by a group of Protestant art students he co-taught in Orvieto, Italy, with Bruce Herman, showing how they honored this subject that originated outside their tradition while also bringing it in line with their theological convictions—which, they discovered, were corroborated by Vatican II. In an earlier essay on visual ecumenism, Milliner wrote,

Just as there is, according to our Bibles, ‘one Lord, one faith, one baptism,’ so perhaps there is also one variegated yet unified Christian aesthetic, to which the different traditions, at their utter best, ascend. Full maturity (which for evangelicals has been a long time coming!) is not to see with Protestant, Orthodox or Catholic eyes—but with the eyes of Christ.

Madonna of Mercy (Gordon in Orvieto)
Madonna of Mercy painting by the 2016 Gordon in Orvieto cohort

Milliner has given similar talks in the past: “Toward a Visual Ecumenism,” at Duke; “Toward 2017: Visualizing Christian Unity,” at George Fox; “Altars on the Jordan and the Rhine,” at the Institute for Ecumenical Research in Strasbourg; “Against Confessional Aesthetics,” at Baylor; and “Hearing Law, Seeing Gospel: A Mockingbird History of Art,” at the 2017 Mockingbird Conference. I hope they turn into a book!

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UPCOMING LECTURE: “An Evening with Ken Myers: Luther’s Artistic Legacy,” Saturday, September 9, 7:30 p.m., Wallace Presbyterian Church, College Park, Maryland: To kick off its second season, the Eliot Society has scheduled Mars Hill Audio founder Ken Myers to discuss Martin Luther’s contributions to Christian hymnody. “With the help of some local musicians, Myers will examine the artistic climate Luther helped to create, as well as some of the great composers of sacred music who followed after him. The lecture will argue that the pattern of Luther’s artistic engagement provides a model for contemporary efforts to reconnect faith and the arts.” Click on the link above to reserve your free ticket.

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FROM THE ARCHIVES: “An early Protestant painting (commissioned by Luther)”: On my previous blog I wrote a post about an altarpiece Martin Luther commissioned from his friend Lucas Cranach to promote Protestant theology. (It’s the same painting Milliner opens his above talk with.) Luther was more accepting of religious images than many of his fellow reformers, elucidating his position in his Invocavit Sermons (1522) and in the treatise Against the Heavenly Prophets in the Matter of Images and Sacraments (1525). I plan to feature vast swaths of these texts on Art & Theology in the near future.

Law and Grace by Lucas Cranach the Elder
Lucas Cranach the Elder (German, 1472–1553), Law and Grace, 1529. Tempera on linden wood, 82.2 × 118 cm. Castle Museum Schloss Freidenstein, Gotha, Germany.