Barking Episcopal Area Art Trail

To understand why an Art Trail like the Barking Episcopal Area Art Trail is needed it is necessary to know some of the background to the relationship between Christianity and the Arts in the 20th century.

After classical antiquity, ‘Christianity became the predominant power shaping European culture between the 13th and 19th centuries. Biblical texts, commentaries, and apocryphal stories inspired artists and patrons alike to create these objects of devotion ...’ and ‘to evoke the nature of ... sacred mysteries in visual terms.’

‘Artists and their advisors were faced with the challenge of suggesting, in visual terms, the nature of Christian mysteries – such as the visions experienced, or miracles performed, by the saints – as well as other profound theological beliefs and debates.‘

However, by the time Impressionism initiated modern art, art had already freed itself in many ways from the patronage of the Church and, as form not content became the primary focus of modernism, the developments of modern art led to an increasingly strained relationship between the Church and the visual arts.

Andrew Spira, writing in The Avant-Garde Icon, notes that ‘Avant-garde artists were passionate and vociferous in their denunciation of the credulity, passivity, manipulation and conservatism of conventional religiosity.’

Mark C. Taylor has noted that ‘the development of modern art follows an "inexorable logic" that leads from figuration and ornamentation to abstraction and formalism. The process of abstraction reaches closure when the work of art becomes totally self-reflexive and transparently self-referential ... Painting that is essentially about painting seems to leave little room for religious and spiritual concerns.’

Additionally, as Dan Fox has stated in frieze, ‘For most of the 20th century, art aligned itself with progressive rationalist secularity and radical subjectivity; the ideas that have fed into art come from modern philosophy, liberal or radical politics, sociology and pop culture rather than theology.’

Fox also writes that ‘It’s also a question of finance: the money that funds art doesn’t come from churches or religious orders like it did hundreds of years ago.’

Anselm Franke, head of visual arts and film at the Haus der Kulturen der Welt in Berlin, sums the situation up by saying that: ‘The historical break with religion continues. We would not think of hanging something that someone prays to in a museum ... Faith is incompatible with art end even destroys the sovereignty of art and the kinds of experiences we are looking for when we frequent art spaces.'

As a result, Dan Fox states, ‘contemporary artists who openly declare affiliation to Judaeo-Christian or Islamic religions are usually regarded with the kind of suspicion reserved for Mormon polygamists and celebrity Scientologists.’

Modern art looked, sounded and felt very different from the art that had traditionally been made for the Church, meaning that the Church avoided using modern art while many modern artists were excitedly exploring new ways of creating art and couldn’t see any connection between what they were doing and the styles of art which the Church continued to use. As a result, there was a whole segment of society – artists and art lovers – that were not being impacted by Christianity.

The Church has often not valued sufficiently the artworks it has commissioned; at times their significance has not been understood or shared, at other times the works have been controversial and may have been banned or not publicized as a result. Often the artworks have been regarded as subsidiary to the liturgy and have not been publicized in order that the focus of the faithful would not be deflected. ‘Christian Art’ has become a contested term and the Church has been unsure whether to continue to use it and, if not, how else to speak of its commissions. There has also been significant debate about the relative values of commissioning artists who are Christians and contemporary ‘masters’ who may not be Christians.

The Rt Revd David Hawkins, former Bishop of Barking and Patron of commission4mission, has said that, ‘There is a great need for the Church to re‐engage with the visual Arts. The Church has enjoyed a long and happy marriage with art in the past but in recent centuries has suffered something of a separation.’

Despite this sense of conflict and separation, there is a more positive story to tell of engagement between Christianity and the Arts. There has been a continuing engagement by the Church with contemporary art from the Post-Impressionists to the present day. This engagement has often been contentious and contested but it has nevertheless been a continuing relationship involving both mainstream artists with a Christian faith and church commissions undertaken by mainstream artists who have not professed the faith.

Mark C. Taylor insists that, ‘One of the most puzzling paradoxes of twentieth-century cultural interpretation is that, while theologians, philosophers of religion, and art critics deny or surpress the religious significance of the visual arts, many of the leading modern artists insist that their work cannot be understood apart from religious questions and spiritual issues.’

Benedict Read in his 1998 lecture to the Royal Society of British Sculptors noted that following the Second World War: ‘Churches were being repaired. New work was being installed in them. There was an expansion of church buildings with works of art in them … There is an alternative world there of the commissioning of art for specific purposes that, with no disrespect to established art historians, simply doesn't feature in our notion of cultural history in the post-war period.’

Read was speaking of the UK but a similar situation occurred in mainland Europe and in both settings, while the church building programme has slowed somewhat, the commissioning of contemporary art has not, meaning we have and are witnessing something of a renaissance of commissioned art for churches and cathedrals.

Key figures in initiating and then sustaining aspects of this renaissance in its initial phases included the artists Maurice Denis and Albert Gleizes, the philosopher Jacques Maritain, and the churchmen Bishop George Bell, Dominican Friar’s Couturier and Régamey, and Canon Walter Hussey.

Commission, a relatively recent exhibition at the Wallspace Gallery, and the Art + Christianity Enquiry monograph Contemporary Art in British Churches brought that story up-to-date. Artists featured in Commission included Tracey Emin, Henry Moore, Craigie Aitchison, Mark Cazalet, Stephen Cox, Chris Gollon, Shirazeh Houshiary, Iain McKillop, Rona Smith and Alison Watt.

The central argument of Contemporary Art in British Churches is that we are witnessing something of a renaissance of commissioned art for churches and cathedrals in this country. Paul Bayley argues that this upsurge of commissioning from the church sees many significant contemporary artists, such as those featured in Commission, creating art for church spaces. The approach underpinning this upsurge is synonymous with that of Bell and Hussey, Couturier and Régamey, who argued that ‘each generation must appeal to the masters of living art, and today those masters come first from secular art.’

The aim of the Art Trail is to raise awareness of the rich and diverse range of modern and contemporary arts and crafts from the last 100 years which can be found within churches and, in particular, the 36 churches featured on this Trail. The significant works of art in these churches, taken collectively, represent a major contribution to the legacy of the church as an important commissioner of art.

These include past contributions by significant artists such as Eric Gill, Hans Feibusch, John Hutton and John Piper. In recent years, churches have continued to commission work by many important artists such as Mark Cazalet, Jane Quail and Henry Shelton together with other emerging artists who are now coming to prominence.

Work on the Art Trail was initiated by commission4mission, an arts organisation encouraging churches to commission contemporary art, with the hope of increasing interest and stimulating engagement with the visual arts in the service of contemporary Christian faith.

The visual arts can contribute to the mission of the church by speaking eloquently of the Christian faith; providing a reason for people to visit a church; making a link between churches and local organisations and providing a focus around which local people can come together for a shared activity.

A leaflet documenting the Art Trail, which was researched and developed by commission4mission member, artist and Fine Arts lecturer, Mark Lewis, publicises the Trail and provides information about the featured artists and churches. The leaflet includes a map showing the churches featured on the Trail together with contact details, so that visits to one or more churches can be planned in advance.

Mark Lewis’ brief was to research commissioned art and craft in the Episcopal Area from the past 100 years. While stained glass is the dominant Ecclesiastical art form, he was also concerned to show a diversity and variety of media and styles within the selections made. He highlighted works such as the significant mosaic by John Piper at St Paul’s Harlow and the striking ‘Spencer-esque’ mural byFyffe Christie at St Margaret’s Standford Rivers. Churches with particularly fine collections of artworks included: St Albans, Romford; St Andrew’s Leytonstone; St Barnabas Walthamstow; St Margaret’s Barking; St Mary’s South Woodford;; and, the church chosen as the location for the launch event, St Paul’s Goodmayes.

The Trail was launched at St Pauls Goodmayes on Thursday 17th February by the Bishops of Chelmsford and Barking. At the launch event, The Rt. Revd. Stephen Cottrell, Bishop of Chelmsford, said: “I do not know what other art form could convey and hold the possibility of converging in so many layers. Not just do the visual arts comment on biblical narrative, but they illuminate it in a way that written or spoken forms cannot, being linear forms. Art opens windows on a set of concepts and ideas and brings them together. These windows offer a fresh perspective onto the faith we share, that other forms simply cannot.”

The Bishop of Barking stated that: “Our inspiration for understanding Christianity comes from the visual arts … The visual arts continue to be an important way of communicating our faith. Words are not enough to express the breadth, depth and height of what we want to communicate. It’s then that the visual arts express what we want to communicate.

God knew that: for centuries he relied on the words of the prophets and then he realized that he needed to send his Son to communicate in ways that words could not, the breadth, depth and height of his love. The word became flesh: the most beautiful living sculpture ever created – Jesus Christ.”

The Barking Episcopal Area Art Trail has inspired at least two similar initiatives. The Revd David New has created a leaflet as a guide to stained glass windows created by Thomas Denny for churches in the Three-Choirs area (Gloucester, Hereford and Worcester Dioceses).

David writes that: "Thomas Denny, born in London, trained in drawing and painting at Edinburgh College of Art. One day a friend asked him to consider creating a stained glass window for a church in Scotland (Killearn 1983). Thus began a remarkable career that has produced over 30 stained glass windows in Cathedrals and Churches of this country. Tom’s love for painting and drawing, especially the things of nature, is evident in his windows ... All of Tom’s windows express biblical themes and are conducive to silent meditation. Find a seat; feel the colours; give time for the details to emerge; reflect."

In addition, and also inspired by the Barking Episcopal Area Art Trail, Beat Rink is organizing an Art & Church Trail in Lucerne, in the context of a Christian conference, at the end of this year. Church leaders in this beautiful city are very excited about the concept and are currently working to develop their plans.

The web page for the Art Trail on the website for the Chelmsford Diocese also features new and additional works which could not be included in the original Trail. This includes:

• Altar frontal by Anne Creasey at Christ Church Thamesview, Bastable Avenue, Barking IG11 0NG. Contact: Gerry Williams. Tel: 07914 676079 (http://www.christchurch-thamesview.org.uk); 
• Graffiti Love, a mosaic by Viki Isherwood Metzler, and a Trinity sculpture incorporating a mosaic by Sergiy Shkanov can be seen in the community garden at St John's Seven Kings, St John's Road, Ilford IG2 7BB. Contact Churchwardens. Tel: 020 8598 1536 (http://stjohns7kings.org.uk/);
• Holy Water Stoup by Mark Lewis at St Margaret of Antioch, Perth Road/Balfour Road, Ilford IG1 4HZ. Contact: Fr. Stephen Pugh. Tel: 020 8554 7542 (http://www.stmargaretilford.org.uk);
• Life of St Augustine, cast concrete achitectural frieze by Steven Sykes at Holy Trinity & St Augustine of Hippo, Leytonstone, 4 Holloway Road, Leytonstone Ell 4LD. Contact: Revd Ian Harker. Tel: 020 8539 6067 (http://www.trinityleytonstone.org/indexnext.htm);
• Nativity reredos with cross and candlesticks by Francis Stephens (a pupil of Martin Travers) at the Church of the Holy Innocents, High Beach IG10 4BF. Contact: Revd. Gill Hopkins. Tel: 01992 760492. (http://www.highbeachchurch.org.uk/); 
• People praising God and giving grace received to others, sculpted oak panels by Jane Quail at St Paul's East Ham, Burges Road, East Ham E6 2EU. Contact: Rev. Merrin Playle. Tel: 020 8472 5531 (http://www.achurchnearyou.com/east-ham-st-paul/);
• Restoration, a wood engraving by Peter S. Smith (a member of the Society of Wood Engravers) commissioned by St John the Baptist Leytonstone in 2011 to celebrate the completion of restoration work at the church. Church Lane/High Road, Leytonstone. Contact: Churchwardens. Tel: 020 8257 2792 (http://www.stjohns-leytonstone.org.uk/);
• Stained glass including a window designed by Edward Burne-Jones at Ilford Hospital Chapel, 48 Ilford Hill, Ilford IG1 2AT. Contact: Fr. Martin Hawse. Tel: 020 8590 2098 (http://www.ilfordhospitalchapel.co.uk);
• The Good Samaritan, engraved window by John Hutton at St George's Barkingside, Woodford Avenue/Gants Hill Crescent, Barkingside IG2 6XQ. Contact: Revd Benjamin Wallis. Tel: 020 8550 4149 (http://stgeorge-barkingside.co.uk/); and
• Graphic art and banners by Caroline Richardson at the Church of the Good Shepherd, Collier Row (http://www.thegoodshepherd.co.uk/).

All of which demonstrates that the Church is engaged with the visual Arts and that the long and happy marriage with art that the Church has enjoyed continues to this day.

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U2 & BB King - When Love Comes To Town.

Commission: contemporary art in British churches

Much has been written about the ground-breaking efforts of twentieth century church art patronage, including the work of Marie-Alain Couturier and Pie-Raymond Régamey in France and George Bell and Walter Hussey in England. However much of this narrative, in the UK at least, peters out after the inauguration of Coventry Cathedral some fifty years ago. Commission, the current exhibition at the Wallspace Gallery, and the Art + Christianity Enquiry monograph Contemporary Art in British Churches seek to bring that story up-to-date.

Artists featured in Commission include Tracey Emin, Henry Moore, Craigie Aitchison, Mark Cazalet, Stephen Cox, Chris Gollon, Shirazeh Houshiary, Iain McKillop, Rona Smith and Alison Watt. The exhibition shows a key work by each artist together with installation photographs, drawings, maquettes and other documentation of the commissioned pieces.

The central argument of Contemporary Art in British Churches is that we are witnessing something of a renaissance of commissioned art for churches and cathedrals in this country. Paul Bayley argues that this upsurge of commissioning from the church sees many significant contemporary artists, such as those featured in Commission, creating art for church spaces. The approach underpinning this upsurge is, therefore, synonymous with that of Couturier and Régamey who argued that "each generation must appeal to the masters of living art, and today those masters come first from secular art."

Alan Green has provided a theological underpinning to this approach in the collaborative book by Chris Gollon and Sara Maitland based on Gollon's Stations of the Cross at St John on Bethnal Green; a commission which features in both the exhibition and monograph. In his Afterword Green points out that "Jesus was not afraid to associate with, and be looked after by, those who were not seen as good Jews ... Those who approached Jesus and seem to have got the best responses from him were not the religious elite, but those with no particular religious standing who nevertheless recognised something special in him and presented themselves honestly." As a result, he says "it seemed important to share this project with an artist who could come at the themes without the perspective of a shared faith." Maitland concurs saying, "I have come to think that there are real advantages, when working on themes about the Incarnation, in having an artist who is not an active Christian or, try as we will, the "God-bits" creep back in."

Maitland contrasts Gollon's powerful images with "the innumerable images of a rather soppy-looking Jesus, tidily and gracefully - if non-anatomically - pinned to his cross with not a wrinkle of pain on his forehead." Bayley too sets up a similar opposition between the significant contemporary artists participating in this upsurge of commissioning from the church and "self-styled 'Christian art' that though sincere and well-intentioned" is "often formulaic or decorative" and (tellingly) has "little or no standing within the art world."

There would seem to be here a danger of exchanging a religious elite for an artistic elite - the "loose amalgam of artists, curators, public and private galleries, art consultants and publishers" who, as Bayley notes, increasingly inhabit their own architecture, develop their own hierarchies and language, and expand the borders of their own ecosystem that to the outsider, and many an insider, can be opaque and excluding.

Although this reality is noted in the monograph, many of the criteria used to praise significant contemporary artists and dismiss self-styled 'Christian art' are drawn directly from this artistic elite. Contemporary art, for example, is viewed as 'challenging' and 'difficult' and is therefore a "critical dissenting activity" which changes the way we view the world as opposed to a lot of art commissioned for churches which reinforces the context, being decorative rather than transformative. However, the crowds which throng Tate Modern and other contemporary art galleries have been seen by some as evidence that contemporary art is 'populist' and 'easily understandable.' Conceptual art, it can be argued, is simply the illustration of ideas and once the concept has been grasped there is little left to contemplate. There are also legitimate questions that can be asked about the engagement of the art establishment in capitalism and of the extent to which spirituality in the arts provides a veneer for consumerism. These perspectives seem to rarely be heard within the arts world, and don't feature within this monograph, but dissenting voices should be heard if only to ensure that the current arts establishment does not become complacent.

Generalised and stereotypical oppositions of "significant contemporary artists" and "self-styled" Christian artists have always been characteristic of those who have argued for contemporary art in preference to earlier styles, whether the Pre-Raphaelite Brotherhood or Couturier and Régamey. What changes in these arguments is often simply the object of attack, as the previously avant-garde becomes passé. In contrast to such generalisations, what always truly counts in the visual arts is a sustained and contemplative viewing of works themselves which will realise depth of composition and insight within both the best of what is currently considered contemporary and what is currently considered traditional. This, to my mind, has been one of the strengths of the Wallspace Gallery with its embrace of, for example, conceptual, iconographic and visionary art.

There is a second exclusionary issue with a sole or primary focus on "significant contemporary artists" in church commissions which is that of cost. Much of the upsurge in church commissions of such artists has been publicly funded and Bayley notes that "in the wake of the credit crunch and public spending cuts the new austerity will slow the recent surge of Church commissioning." While the monograph contains some examples of local churches engaging with "the whole twenty-first century apparatus of arts consultants, planning stages and public consultations," such engagement is more suited to and more viable for Cathedrals and City centre churches. Local churches can therefore either feel excluded from or simply not consider the possibility of commissioning contemporary art.

If such churches are to be included in the upsurge of church commissions then they are likely of necessity, for reasons of access and cost, to engage with a different grouping of artists who will predominantly be those with local/regional, as opposed to national/interational, reputations. Generalised oppositions, such as that made by Bayley, are likely to discourage and depress such engagement because of the sense communicated of such commissions being second-rate. However where local churches genuinely take a sustained and contemplative look at the work of such artists creative commissions can result despite the absence of perceived 'significant' contemporary artists.

It is my experience, through commission4mission, that there are significant numbers of contemporary artists who are engaging with both faith and art yet who do not feel included by or engaged by the existing faith and art organisations and therefore lack networks for encouragement, debate, and connection to commissioning churches. It is also my experience, again through commission4mission, that the issues which seem to prevent a widespread involvement of local churches with commissions of contemporary art can be overcome through a different form of engagement to that which underpins the commissions highlighted by the ACE monograph.

I agree with Bayley that there has been a real and exciting upsurge in church commissions which builds on the twentieth century achievements of Couturier and Hussey, among others, and which is well documented by this monograph and Commission. Within this upsurge, I for one, wish to see the active encouragement and development of emerging artists and regional arts networks as another tier of such commissioning and as fertile ground for future creativity. My critique of aspects of the survey found in this monologue comes from this perspective and in this cause.

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Duke Special - Portrait.