Exhibitions

James Webb: Prayer, Art Institute of Chicago, September 6–December 31, 2018: A sound installation that began, said the artist, with the question “What would it be like to listen to all the prayers of a city simultaneously?” “Prayer is an ongoing project, remade around the world since its first presentation in Webb’s home city of Cape Town in 2000. The Chicago version is the 10th and largest to date, as well as the first in North America. The work consists of recordings of prayer from individuals who belong to dozens of faiths and spiritual affinities in the host city. Listeners are invited to remove their shoes and walk the length of the carpet . . . or to kneel or otherwise lower themselves next to a speaker to listen more closely to particular prayers.”

Prayer by James Webb
Photo: Anthea Pokroy
Prayer by James Webb
Photo: Chris Sweda/Chicago Tribune

In his review for the Chicago Tribune, Steve Johnson interviewed several listener-participants. One woman said she stumbled into the museum after missing her train stop on her way home from work; it was a fortuitous accident, she said, because she had been feeling overwhelmed by the suffering in the city (addiction, gun violence, etc.), and hearing the praying, singing, chanting in the gallery helped give her hope.

Click here to see a short video feature of the Stockholm version of Prayer, which took place last year.

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Encounters, St. Martin-in-the-Fields, London, September 18–November 19, 2018: For the past decade, artist and visual social historian Nicola Green has been granted access to private meetings between religious leaders around the world from a variety of faith traditions. These meetings have gone largely unreported in the media, and there has been limited reflection on the encouraging trend they represent. To help remedy the situation, Green has produced thirty-one portraits depicting leaders like Pope Francis, the Dalai Lama, Archbishop Desmond Tutu, former Grand Mufti of Egypt Ali Gomaa, Emeritus Chief Rabbi Jonathan Sacks, and many more—each set against a unique patterned background inspired by liturgical vestments or objects, manuscript illuminations, or sacred architecture particular to the sitter. The faces are obscured to prompt reflection on the relationship between the individual and his office.

“Green makes a compelling case through her art and writings that we have entered a new era in interreligious relations. What is remarkable today is the depth of relationships being formed by faith leaders across historically deep divides. . . . At its heart, the Encounters project is an exploration of difference. It asks: How can people of different faiths, or none, communicate strongly held convictions, whilst respectfully allowing others to do the same? What can be gained from such encounters, and how can we identify common goals whilst working from different perspectives? And how can deep religious commitments become an asset rather than an impediment to understanding and appreciating diversity? Green invites viewers to think about our relationship to those we consider wholly ‘other’ to ourselves, and how this, in turn, shapes our own identity.”

Encounters by Nicola Green

The exhibition is accompanied by the publication of a new multiauthor book, Encounters: The Art of Interfaith Dialogue, as well as a series of lectures, the most recent of which will be taking place Monday.

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Armenia: Art, Religion, and Trade in the Middle Ages, Metropolitan Museum of Art, New York City, September 22, 2018–January 13, 2019: “This is the first major exhibition to explore the remarkable artistic and cultural achievements of the Armenian people in a global context over fourteen centuries—from the fourth century, when the Armenians converted to Christianity in their homeland at the base of Mount Ararat, to the seventeenth century, when Armenian control of global trade routes first brought books printed in Armenian into the region. Through some 140 objects—including opulent gilded reliquaries, richly illuminated manuscripts, rare textiles, cross stones (khachkars), precious liturgical furnishings, church models, and printed books—the exhibition demonstrates how Armenians developed a unique Christian identity that linked their widespread communities over the years.”

Adoration of the Shepherds (Armenian)
Astuatsatur Shahamir, Adoration of the Shepherds, 1691. Repoussé silver book cover with jewels and enamel, made in present-day Kayseri, Turkey. Inside is an illuminated Gospel from the 13th century.

Read the Washington Post review by Philip Kennicott, and see the exhibition catalog put together by Helen C. Evans.

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Anglo-Saxon Kingdoms: Art, Word, War, British Library, London, October 19, 2018–February 19, 2019: This “largest ever exhibition on the history, literature and culture of Anglo-Saxon England, spanning all six centuries from the eclipse of Roman Britain to the Norman Conquest,” brings together art objects, manuscripts, and other artifacts from various European collections and from the British Library itself. Because Christianization of the kingdom began in the sixth century, much of its art reflects that. Two highlights are the Codex Amiatinus (a giant Northumbrian Bible taken to Italy in 716 as a gift to the pope and returning to England for the first time since) and the Lindisfarne Gospels (the earliest surviving example of the Gospel texts in English and an exemplary fusion of Anglo-Saxon, Celtic, Pictish, and Mediterranean art styles)—which will be the subject of a lecture on Monday.

Other illuminated manuscripts in the exhibition include the St. Augustine Gospels, the Echternach Gospels, the Utrecht and Eadwine Psalters, the Junius manuscript (a volume of religious poetry), and, from the British Library’s collection, Ælfwine’s Prayerbook, the St. Cuthbert Gospel, and the Vespasian, Harley, and Tiberius Psalters. And manuscripts represent only a portion of the vast number of objects on display! To learn more, see the new webpage launched by the library and the catalog edited by Claire Breay and Joanna Story.

Cross (Lindisfarne Gospels)
Carpet page from the Lindisfarne Gospels, ca. 698. British Library Cotton MS Nero D.IV, fol. 26v.
King David and his musicians
King David and his musicians, from the Vespasian Psalter, 8th century. British Library Cotton MS Vespasian A. I, fol. 30v.
Eadwine Psalter
From the Eadwine Psalter, ca. 1150. Trinity College, Cambridge (MS R.17.1, fol. 108v). Illuminates Psalm 64:1-3: “Hear me, my God, as I voice my complaint; protect my life from the threat of the enemy. Hide me from the conspiracy of the wicked, from the plots of evildoers. They sharpen their tongues like swords and aim cruel words like deadly arrows.”
Harrowing of Hell (Tiberius Psalter)
“The Harrowing of Hell,” from the Tiberius Psalter, ca. 1050. British Library Cotton MS Tiberius C.vi, fol. 14r.

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Attending: Paintings and Prints by Julie Shelton Snyder, Gallery at Convergence, Alexandria, Virginia, October 26–December 22, 2018: This exhibition features new work by the artist completed during her residency at the foot of Mount Fuji in Japan, which she spent studying the mokuhanga traditional woodblock printmaking technique. “In my work,” says Snyder, “I explore movement and stillness, being in control and letting go. . . . My longing for stillness is a physical and spiritual quest, and this quest has led me to the practice of Centering Prayer. Through art making, I am given the means to express spiritual truths I cannot otherwise articulate. Expressing the ineffable and the invisible is the aim of my work, and I view abstraction as the best means for this expression.”

Attending exhibition (Julie Shelton Snyder)

Accompanying the exhibition is a series of events, including workshops, prayer services, and, on December 2, “Attending to Advent: A Multisensory Advent Experience”—which I will be, ahem, attending.

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The Renaissance Nude, J. Paul Getty Museum, Los Angeles, October 30, 2018–January 27, 2019: “Inspired by a renewed interest in classical sculpture and closer study of nature, Renaissance artists made the nude body ever more vibrant, lifelike, and central to their practice. Yet, pious European Renaissance society was troubled by the nude and its new sensuality—a conflicted response echoed in the world today, where images of nudity have become ubiquitous. This exhibition, with more than 100 objects by Leonardo da Vinci, Raphael, Michelangelo, Dürer, and others, traces the nude’s controversial emergence and its transformative effect on European art and culture.”

Madonna and Child (detail) by Jean Fouquet
Jean Fouquet’s Virgin and Child, which forms the right wing of the Melun diptych, shows Mary baring her breast in what most read as an erotically charged manner. (click to see full image)

It was interesting to hear from curator Thomas Kren that “artists’ and viewers’ attitudes toward the nude were as varied and complex centuries ago as they are today,” provoking conflicting feelings of shame, admiration, curiosity, desire, disgust, anger. Learn more in his fascinating Getty blog post “Deconstructing Myths about the Nude in Renaissance Art,” and in the catalog he edited. Also worth checking out is the blog post by art historian Jill Burke: “Sex, Power, and Violence in the Renaissance Nude.” The exhibition focuses on the period 1400–1530, but even within that narrow slice of history, the unclothed body, male and female, functioned in diverse ways in art.

A large number of biblical figures are represented in the exhibition’s list of artworks, including Adam and Eve, Job, Bathsheba, Mary and the infant Christ, Christ at his baptism and in his passion, and the saved and the damned on the last day, as well as extrabiblical martyrs (especially Saint Sebastian) and devout ascetics.

Man of Sorrows by Michele Giambono
Michele Giambono (Italian, active 1420–1462), Man of Sorrows, ca. 1430. Tempera and gold on wood, 54.9 × 38.7 cm (21 5/8 × 15 1/4 in.). Metropolitan Museum of Art, New York.
The Way to Paradise by Dieric Bouts
Dieric Bouts (Netherlandish, ca. 1415–1475), The Way to Paradise, 1469. Oil on panel, 115 × 69.5 cm (45 1/4 × 27 3/8 in.). Palais des Beaux-Arts, Lille, France.

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