Showing posts with label g. perry. Show all posts
Showing posts with label g. perry. Show all posts
Saturday, 8 June 2024
Firstsite: Lunar Lullabies
This summer, an exhibition inspired by the timeless poem The Star (more widely known as Twinkle Twinkle Little Star) by writer Jane Taylor (1783-1824) will send space enthusiasts, young and old, on a cosmic odyssey.
Opening today at Firstsite in Colchester, the birthplace of Taylor and her poetic masterpiece, Lunar Lullabies, commemorates the 200th anniversary of the Essex writer's passing. It traces the artistic journey of Taylor's nursery rhyme and its profound influence on contemporary media, including comics, video games, and pop culture hits like Will Smith's "I'm Not a Star" and Nicki Minaj's "Starships."
The exhibition transforms the gallery into an immersive playscape of imagination and discovery, featuring interactive space objects, immersive extraterrestrial landscapes, and robot sculptures. Visitors are able to touch and discover objects ranging from meteorites and asteroid rocks to Lego Star Wars sets and bring their own cosmic creations to life.
Showcasing stunning artworks, historical artefacts and contemporary cultural nods, visitors discover how science, art and imagination have intertwined over the centuries to shape culture and our collective fascination with distant galaxies.
The exhibition is the result of a series of workshops with Firstsite youth programme YAK and families participating in Firstsite's innovative Holiday Fun programme – where they provide families facing financial challenges with fun, free days out full of art and sport along with a free family meal. YAK members and Holiday Fun families have made their own work, alongside producing collaborative artworks with commissioned artists.
The exhibition features a range of books and poetry by Taylor and her sister Ann to kick off a journey through the next 200 years.
The Star became hugely successful and a mainstay of childhood imagination, in part because of the etchings of the nursery rhyme. This art technique was impacted by science and space visions. A range of 19th-century etchings of comets in the night sky features in the exhibition.
There are a wide array of multimedia projects on display, all connecting space with the imagination. These include fantastical futuristic spaceship animation rooms by Mark Garlick, paintings of space rockets that move when viewed, and a ceramic work by British icon Grayson Perry with Alien Baby (2008) inspired by a maternity ward that he likened to a spaceship.
The work of Colchester-based Peter Elson (1947-1988), an illustrator who spent a career bridging childhood wonder of space with explorations of the future, is prominently featured. Decades of science fiction paperbacks from the 20th century have Elson's renderings on the cover, featuring planets, spaceships and star systems. Hugely influential on a new generation of sci-fi depicters, with brightly coloured backgrounds and sleek designs, he has been widely credited for providing the visual aesthetic to early video game productions in the 1990s.
Contemporary artists also show how the artistic obsession with what lies beyond the Earth's sky continues today. Essex-based artist Jackie Burns is a Fellow of the International Association for Astronomical Artists; her earlier works include science fiction book cover designs, and throughout her career, she has created work based on the scientific reality of space travel, such as through portraits of astronaut Tim Peake, as well as popular culture imagery such as characters from Star Wars. Burns led some of the workshops to develop the exhibition and her depiction of one of the most iconic spaceships in human history will feature; the one that fulfilled Blake's dreaming and took humankind onto the moon. The acrylic work Saturn V, Apollo 11, on Crawler to Launchpad 39A consists of different-sized circles of various colours that slowly reveal the image the longer you look.
In the 21st century, artists can now be found alongside scientists working towards space exploration, and the exhibition includes a number of paintings produced by British artist Matthew Turner during his residency at NASA.
A number of artists whose practices have developed at Firstsite will also be featured. The futuristic Colchester landscapes of local artist and Level Best alumni Henry Linstead will be shown, as well as work by those who attend Holiday Fun, including models of science fiction and gaming figures by the artist known as 'S' whose room installation which features over 1000 models, will immerse visitors into a world of dinosaurs and creatures whose fate was changed by an asteroid from space.
In total, the exhibition features over 100 artefacts and more than 100 artworks, the majority by artists from East Anglia, which explore our need for discovery, from the dreaming and wonderings of poets to the reality of scientific endeavour. Through a changing programme during the exhibition run, art and content from community groups and activities will also be on display. With this ambitious approach, Lunar Lullabies at Firstsite charts how the first nursery rhymes laid the foundations for the current stories that can be found in today's comics, video games and consciousness, with Colchester at the centre.
Firstsite Director Sally Shaw says, "Lunar Lullabies shows the true power of art and creativity—charting the journey from Jane Taylor's imagination in 1806 to the realities of scientific exploration today. By combining art and science, the exhibition brings STEAM to the heart of Colchester, using art as a method of learning and discovery to help us connect with the science of space exploration in a meaningful way.
"Working with local families and young people to make this exhibition has brought new voices and ideas, which are reflected in the vibrant and diverse selection of works – some which will spark nostalgia and others which will immerse you in a whole new futuristic world. Most importantly, this approach has created a really fun, inclusive space where our visitors can let their imaginations run wild!
“We hope Lunar Lullabies will inspire everyone to explore their creativity, with the knowledge that something imagined today may spark a creative chain reaction that ignites future explorations and discoveries, much like Jane Taylor's influence has done for centuries."
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Electric Light Orchestra - Mr Blue Sky.
Sunday, 20 August 2023
George Morl: Electrum Spektrum
‘Electrum Spektrum’ is an installation at Chelmsford Museum by Basildon born artist George Morl. The installation has grown from a series of projects and evolving conversations with students in Cornwall and Essex. It features artworks by Morl and the students, and work from their collaborative collection of art. The works trace the evolution of social and technological networks and reflect on conversations about their experiences of online spaces.
Since 2020 Morl has been working in partnership with students from Elm Class, Nancealverne School in Penzance as well as support centres in Essex: two regions linked by the development of wireless radio. This ongoing collaboration has also explored fiction in gaming and art, the development of communication history, as well as creating artwork and their own workshops.
In 2022 they began to build an art collection together centred on the needs of disabled people and encompassing a broad range of sensory engagements. They have acquired artworks by artists such as Grayson Perry with the selection based on their own interests and accessibility needs.
Earlier this year at St Andrew's Wickford Morl spoke about their experience as collector and in an exhibition called New Town, New Collection showed work by Grayson Perry, Elsa James, Madge Gill, Rosie Hastings & Hannah Quinlan, Uma Breakdown, as well as a selection of their own work. Through founding a collection which reflects on the communal legacies of New Towns, Plotlands, and the possibility of human connections across the virtual world, Morl visions a future art collection centring support. In their talk Morl shared the joy of acquiring art, and motivations for building a collection to share for others.
A selection of works by Perry can be seen in the Ceramics Gallery at Chelmsford Museum. These include the 'Chelmsford Sissies' pot, the 'Julie Tile', the limited-edition print ‘England as seen from Lockdown in Islington’, which was created in 2021 during the Channel 4 series ‘Grayson’s Art Club’, and an 'Untitled' drawing depicting a hybrid of rural and urban Essex – a unique portrait of Perry’s hometown of Chelmsford.
Also to be seen at Chelmsford Museum is Behind the Rainbow, a collection of personal stories and experiences from the LGBTQ+ community, showing the creativity, complexity, and humanity of its members. This exhibition recognises the relationship between self-expression and identity and invites visitors to connect and empathise with the people behind the stories.
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Friday, 12 May 2023
New Town, New Collection: Tales from George Morl’s private art collection
12 – 14 May 2023St Andrew’s Church, 11 London Road, Wickford SS12 0AN
This exhibition brings together works acquired by artist and curator George Morl. Through founding a collection which reflects on the communal legacies of New Towns, Plotlands, and the possibility of human connections across the virtual world, it visions a future art collection centring support. New Town, New Collection features works by contemporary artists such as Grayson Perry, Elsa James, Madge Gill, Rosie Hastings & Hannah Quinlan, Uma Breakdown, as well as by Morl.
Friday 12 May 7.00 pm, St Andrew’s Church - Talk: New Town, New Collection
Join George Morl for a talk about their collection as displayed in the exhibition New Town, New Collection. Reflecting on experiences as an artist and through their role as Programme Assistant at Firstsite in Colchester, Morl shares their joy of acquiring art, and motivations for building a collection to share for others.
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Bruce Cockburn - Us All.
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Sunday, 7 May 2023
George Morl: Pop-up exhibition and talk
Friday 12 – Sunday 14 May, St Andrew’s Church (11 London Road, Wickford SS12 0AN):
New Town, New Collection: Tales from George Morl’s private art collection
This exhibition brings together works acquired by artist and curator George Morl. Through founding a collection which reflects on the communal legacies of New Towns, Plotlands, and the possibility of human connections across the virtual world, it visions a future art collection centring support. 'New Town, New Collection' features works by contemporary artists such as Grayson Perry, Michael Landy, Elsa James, Madge Gill, Rosie Hastings & Hannah Quinlan, Uma Breakdown, as well as work by Morl.
Friday 12 May 7.00 pm, St Andrew’s Church - Talk: New Town, New Collection
Join British artist and curator George Morl for a talk about their collection as displayed in the exhibition New Town, New Collection. Reflecting on experiences as an artist and through their role as Programme Assistant at Firstsite in Colchester, Morl shares their joy of acquiring art, and motivations for building a collection to share for others.
These events of part of the One Beautiful Work Arts Festival - see https://onebeautifulworldfestival.blogspot.com/.
George Morl is an artist and facilitator based in Basildon. They currently are Programme Assistant at Firstsite in Colchester, and were appointed the Jerwood Newlyn Residency (2021-22) at Newlyn Art Gallery & The Exchange in Penzance. Morl's multidisciplinary practice comprises of paintings, sculptures, photography and video, exploring human connection under technology and networks, communication, gender, often through affecting integrative and collaborative approaches between organisations, collections, and communities. Work has been shown at Focal Point Gallery, Southend (2022), Newlyn Art Gallery & The Exchange, Penzance (2021), Tate Exchange, London (2019), Southend Museums (2018), UCA, Canterbury (2016), Turner Contemporary, Margate (2016). Recipient of Arts Council England Practice Grant (2022), New Histories, Cambridge (2022), Firstsite Award, Colchester (2019), TOW Residency, Southend (2020), and awarded the UCA Darren Henley Scholarship, Canterbury (2016- 2018). ‘Essex @way from keyboard?’ marked their first public artwork for Focal Point Gallery’s Railway Bridge commission 2022.
George Morl is an artist and facilitator based in Basildon. They currently are Programme Assistant at Firstsite in Colchester, and were appointed the Jerwood Newlyn Residency (2021-22) at Newlyn Art Gallery & The Exchange in Penzance. Morl's multidisciplinary practice comprises of paintings, sculptures, photography and video, exploring human connection under technology and networks, communication, gender, often through affecting integrative and collaborative approaches between organisations, collections, and communities. Work has been shown at Focal Point Gallery, Southend (2022), Newlyn Art Gallery & The Exchange, Penzance (2021), Tate Exchange, London (2019), Southend Museums (2018), UCA, Canterbury (2016), Turner Contemporary, Margate (2016). Recipient of Arts Council England Practice Grant (2022), New Histories, Cambridge (2022), Firstsite Award, Colchester (2019), TOW Residency, Southend (2020), and awarded the UCA Darren Henley Scholarship, Canterbury (2016- 2018). ‘Essex @way from keyboard?’ marked their first public artwork for Focal Point Gallery’s Railway Bridge commission 2022.
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Lizz Wright - Presence Of The Lord.
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Thursday, 14 July 2022
Artlyst: Grayson Perry Tapestries On Show At Salisbury Cathedral
My latest interview for Artlyst is with The Very Revd Nicholas Papadopulos, Dean of Salisbury, and Beth Hughes, Curator, Arts Council Collection, in relation to The Vanity of Small Differences, an exhibition of six huge tapestries by Grayson Perry which has recently opened to the public at Salisbury Cathedral:
‘Beth Hughes: The exhibition will make clear the artworks that have been referenced as intermediaries. The tapestries are not about telling a bible story, however, rather they are more about art history. Is this about the grandiose nature of the way we treat past artworks or about Perry aligning his artworks with paintings from the past? In the second panel, a club singer is aligned with Grunewald’s Isenheim altarpiece. There are clear references in relation to size and shape. This layering of references shows that art doesn’t come from nowhere.
Nicholas Papadopulos: The point I like to make to visitors is that Perry is using the religious references to address issues of class division and that post-Brexit, Covid, the cost-of-living crisis, and the Ukraine conflict, the issue of how united or divided we are is of more relevance than ever. Vibrant, witty, and well-observed, they are an invitation to see ourselves. That surely is one of the purposes of liturgy and worship, to look at ourselves in the light of the Gospel. Doing so is a core spiritual discipline.’
For more on The Vanity of Small Differences see my July diary for Artlyst - 'Re-imaging Essex'.
My other pieces for Artlyst are:
Interviews -
- Sidney Nolan’s Africa: Interview With Andrew Turley
- Ilona Bossanyi: Tate’s Ervin Bossanyi Stained Glass Window Mothballed After 2011 Redevelopment
- Louis Carreon: Sampling Art History
- Modus Operandi - What Makes Successful Public Art: Vivien Lovell Interviewed
- Genesis Tramaine: A Queer Devotional Painter
- Lakwena Maciver: Review-Interview Hastings Contemporary
- Nicola Ravenscroft - Sculpture With A Peaceful Stillness
- Artist Hannah Rose Thomas – Tears of Gold – Interview
- Marcus Lyon: Human Atlas Explorations
- Elizabeth Kwant Interview
- Helaine Blumenfeld: Undulating Structures
- National Gallery Explores ‘Sin’ In New Exhibition – Interview Dr Joost Joustra Curator
- Betty Spackman: Posthumanism Debates
- Christopher Clack: Connecting The Material And Immaterial
- Peter Howson Artlyst Interview
- Marleen Hengelaar-Rookmaaker On The Legacy Of ArtWay
- Alastair Gordon A Testament To His Faith
- Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
- Apocalypse Now: Michael Takeo Magruder Interviewed
- Jonathan Anderson: Religious Inspirations Behind Modernism
- Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
- Art Awakening Humanity Alexander de Cadenet Interviewed
- Michael Pendry New Installation Lights Up St Martin In The Fields
- Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar
- Re-imagining Essex July 2022 Diary
- Art Illuminating spirituality June 2022 Diary
- Hew Locke And The Christian Roots Of Carnival – Tate Britain
- Les Lalanne, Schütte And Gursky London Spring Exhibition Highlights
- Sensuous Sickert and Philpot Two Major UK Solo Exhibitions
- Venice To London May 2022 Diary
- Jacob Epstein, Louis Carreon, Titus Kaphar, Betty Spackman – April 2022 Diary
- Raphael The Human And Divine – National Gallery
- Damien Hirst The Visceral Reality Of Death
- Ali Cherri: Artist in Residence National Gallery
- Audrey Flack Carlo Crivelli And Robert Indiana – March Diary
- Surrealism Outside The Usual Story – Tate Modern
- Marcus Lyon Creates Fields of Vision At St Martin-in-the-Fields London
- My Art Diary And Other Thoughts February 2022
- Van Gogh Self Portraits The Infinite And The Ordinary
- Marvellous Icons: The London Jesuit Centre
- And On An Art Note: End Of Year Diary 2021
- Albrecht Dürer Travels Of A Renaissance Artist – National Gallery London
- Diasporan Identities: Life Between Islands Caribbean British Art – Tate Britain
- Isamu Noguchi: Socially Engaged Art – Barbican Centre
- Pablo Bronstein: A This-World Vision Of Hell
- Bosco Sodi: In The Beginning Of Wisdom
- George Condo Lockdown Works Hauser & Wirth
- Theaster Gates Clay As A Profound Metaphor
- Mark Rothko: Mesmerising And Intimate Works On Paper
- International Autumn Art Exhibition Reviews
- Roger Cecil: A Once In A Generation Welsh Painter
- Tino Sehgal: Location, Nature And Pandemic – Blenheim Palace
- Michael Armitage And The Power Of Art – Royal Academy
- Marie Raymond And Post-War Avant Garde Painting In Paris
- Rachel Kneebone: A Complex Tableau Of Organic And Geometric Forms
- Rodin: Suffering And Conflict – Tate Modern
- Barbara Hepworth: Symbols Of Art & Life – Hepworth Wakefield
- 20th Century Women Artists Challenging Conventions In Britain
- Chaiya Art Awards 2021 Gallery OXO
- Marc Chagall’s Exquisite Stained Glass Window Commissions
- George Gittoes Equal parts artist and warrior
- Keith Haring: Personal Spiritual Imagery
- Sean Scully: Philosophical Poetic Pastoral The 12 / Dark Windows
- Arthur Jafa: The Art Of Cutting And Pasting
- Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art
- Made in USA Ed Ruscha An American Perspective
- Robert Smithson: The Archetypal Nature Of Things
- If Jesus Is A Man Of Colour Why Did We Make Him Aryan?
- Cosmic Patches And Quilts Five Exhibitions
- Everyday Heroes: Southbank Exhibition Celebrates Low-paid Key Workers
- Entwining Spiritualism And Art – Three Shows
- Of Church And The Visual Arts
- Has The Word Master Reached Its Sell-By Date?
- The People Behind Community Is Kindness Billboard Campaign
- André Daughtry: Art, Rebellion And Racial Justice
- Salisbury Cathedral 800 Years Of Art And Spirit
- Home Alone Together Twenty Five Artists
- Botanical Mind Online: Art, Mysticism and the Cosmic Tree
- Salvador Dalí The Enigma of Faith
- Art And Faith A Time For Seeing
- Andy Warhol: Catholicism His Work, Faith And Legacy
- Kiki Smith: Embodied Art
- Art and Christianity Awards A Positive New Millennium Legacy
- Arnulf Rainer: 90th Birthday Exhibition Celebrated At Albertina Museum
- A Belonging Project And Exiles Loss and Displacement
- Robert Polidori: Fra Angelico Opus Operantis
- Art, Faith, Church Patronage and Modernity
- Contemplating the Spiritual in Contemporary Art
- Mat Collishaw Challenges Faith Perspectives With Ushaw Installation
- Waterloo Festival Launches At St. John’s Waterloo
- John Bellany Alan Davie Spiritual Joy and Magic
- RIFT Unites 17 Art and Science MA Graduates At Central St Martins
- Visionary Cities: Michael Takeo Magruder – British Library
- Van Gogh’s Religious Journey Around London
- William Congdon Holy Sites And The Kettle’s Yard Connection
- Mark Dean Premieres Pastiche Mass At Banqueting Hall Chelsea College of Arts
- John Kirby: The Torment
- Underlying The Civilised Facade
- Curating Spiritual Sensibilities In Changing Times
- Homeless Highlighted: New Beau Exhibition At St Martin-in-the-Fields
- Ken Currie: Protest Defeat And Victory
- Bosco Sodi: A Moment Of Genesis
- Bill Viola And The Art Of Contemplation
- Art In Churches 2018: Spiritual Combinations Explored
- Sister Wendy Beckett – A Reminiscence
- Guido Guidi: Per Strada Flowers Gallery London
- Peter Howson: The play is over – Flowers Gallery
- Camille Henrot: Scientific History And Creation Story Mash Up
- Nicola Green Explores Recent And Contemporary Religious Leaders – St Martin-in-the-Fields
- Art And The Consequences Of War Explored In Two Exhibitions
- Helaine Blumenfeld Translating Her Vision
- Sam Ivin: Physically Scratched Portraits Of Asylum Seekers Exhibited
- Sacred Noise: Explores Religion, Faith And Divinity
- Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
- The ground-breaking work of Sister Corita Kent
- Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
- Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
- Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
- Arabella Dorman Unveils New Installation At St James Church Piccadilly
- Can Art Transform Society?
- Art Awakening Humanity Conference Report
- Central St Martins in the Fields Design Then And Now
- The Sacramental And Liturgical Nature Of Conceptual Art
- Polish Art In Britain: Centenary Marked At London’s Ben Uri Gallery
- Refugee Artists: Learning from The Lives Of Others
- The Religious Impulses Of Robert Rauschenberg
- The Christian Science Connection Within The British Modern Art Movement
- Artists Rebranding The Christmas Tree Tradition
- Art Impacted - A Radical Response To Radicalisation
- The Art of St Martin-in-the-Fields
- Was Caravaggio A Good Christian?
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The Merchants of Venus - The Arms of Morpheus.
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Friday, 21 July 2017
Grayson Perry: The Most Popular Art Exhibition Ever!
My latest exhibition review for Church Times is of Grayson Perry: The Most Popular Art Exhibition Ever! at the Serpentine Gallery. In the review I argue that Perry:
'may be the perfect artist for our troubled times, because he absorbs into himself and his creations a multiplicity of references, which he mirrors back to our culture, but refracted through the perspective of his dual identities.
This makes his work prophetic as it re-presents ourselves and our culture, but in ways that playfully challenge and criticise our notions of identity and the basis for these notions.'
Peter, Paul & Mary - The First Time Ever I Saw Your Face.
'may be the perfect artist for our troubled times, because he absorbs into himself and his creations a multiplicity of references, which he mirrors back to our culture, but refracted through the perspective of his dual identities.
This makes his work prophetic as it re-presents ourselves and our culture, but in ways that playfully challenge and criticise our notions of identity and the basis for these notions.'
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Monday, 3 July 2017
Discover & explore:Life is repentance
Philip Dawson writes:
'The last Discover & Explore service on the theme of the Reformation - services start again on 25th September and then each Monday at 1.10pm. A huge thank you to Reverend Jonathan Evens and his colleagues for all the work that goes into preparing these services which combine fantastic music with inspirational reflections and prayers.
In today's service we said Bonhoeffer's prayers and sang one of his hymns and in the reflection Jonathan cleverly used the example of Grayson Perry's Chris Hulme case (which was purposely cracked and repaired) to illustrate the reading from 2 Corinthians. (https://www.theguardian.com/…/grayson-perry-chris-huhne-def…)
Every part of the service from the opening responses to the beautiful closing anthem worked so well together. We said farewell to the current Choral Scholars of St Martin in the Fields who lead the music at the service - and also the the fantastic Jeremy Cole who is leaving to a new post at Wells Cathedral. Everyone I know seems to be moving to Wells these days!
A really wonderful series of services; intelligent, thought provoking and hopeful - the perfect way to start your working week!'
Our autumn Discover & explore series will be part of the ‘Londinium’ programme organised by the City of London and will explore Rome, London & Christianity through music, prayers, readings and reflections. Highlights include St Paul in Rome, Constantine and The Temple of Mithras & St Stephen Walbrook:
- 25th September - St Paul in Rome
- 2 October - St Peter in Rome
- 9 October - The Early Church in Rome
- 16 October – St Alban
- 23 October – Constantine
- 30 October – Christianity in Roman London
- 6 November – The Temple of Mithras & St Stephen Walbrook
- 13 November – St Augustine
- 20 November – St Mellitus
- 27 November – St Erkenwald & St Ethelburga
Today’s Reformation 500 reading states that dying daily to our sinful nature doesn’t sound very exciting but our Bible reading (2 Corinthians 4. 6 - 12) suggested that it is our fallibility and failings (the effects of our sinful nature) that actually enable the light of Christ to be seen most clearly in our lives. It maybe that if we understand Luther and St Paul together we can view Luther’s insistence that we live a life of repentance, a daily awareness of our fallibility and failings, more positively.
In 2014 the artist Grayson Perry made a vase as a portrait of Chris Huhne, the Liberal politician who fell from grace when his wife, Vicky Pryce, revealed that he had asked her to take the blame for his speeding offence and the speeding points incurred. He resigned from the cabinet and was subsequently jailed for perverting the course of justice. Perry thought that Huhne was unchanged by his prison experience and, therefore, represented powerful white males with a kind of bullet-proof, Teflon, confidence and chutzpah that was unaffected by wrongdoing and failure. As a result, Perry purposefully smashed the finished vase and then had it repaired using an ancient Chinese technique which involves lacquer resin dusted or mixed with gold, saying, “I have smashed the pot and had it repaired with gold to symbolise that vulnerability might be an asset in relationships to such a person.”
St Paul told the Christians in Corinth that they had the light of the knowledge of the glory of God in the face of Jesus Christ in their hearts, but that this treasure was in clay jars, so that it might be made clear that this extraordinary power belongs to God and did not come from them. If the clay jar, the container of the light, were to be perfectly formed, then the light inside would not be seen from the outside. The light of Christ would effectively be hidden. Like people looking at the confidence and chutzpah of the Teflon-coated Chris Huhne, people would look at our perfect life and not Christ, because they would only see us.
Instead, St Paul says, because we are not perfect and have difficulties and flaws we are like cracked clay jars, meaning that it is then clear that where we act or speak with love and compassion, this is because of Christ in us, rather than being something which is innate to us or simply our decision alone. He used this image of light in containers seen through cracks, or thin translucent clay, to assure the Corinthian Christians that they had the light of God in their lives, despite the fallibility and frailty of those lives. Similarly, Leonard Cohen sings: ‘Ring the bells that still can ring / Forget your perfect offering / There is a crack, a crack / In everything / That's how the light gets in, / That's how the light gets in’.
Paul wrote that ‘We are afflicted in every way, but not crushed; perplexed, but not driven to despair; persecuted, but not forsaken; struck down, but not destroyed; always carrying in the body the death of Jesus, so that the life of Jesus may also be made visible in our bodies.’ Paul wrote of us in the plural. We are afflicted, but not crushed. We are perplexed, but not driven to despair. It is as we come together to engage with affliction, perplexity, forsakenness, and being struck down that we carry in our body the death of Jesus and show the life of Jesus. It is as we come together, linked, like the lanterns, by the light of Christ that we become the Body of Christ.
I don’t know how the image of a crack letting in light came into the mind of Leonard Cohen but it fits really well with St Paul suggesting that there are fractures and flaws running through each of our lives and that these imperfections actually enable the light within to be seen more clearly. I don’t suppose that Grayson Perry had this passage in mind when he smashed the Chris Huhne vase and had the resulting cracks gilded with gold, but, like St Paul, he suggests that our vulnerabilities are the most precious aspect of our lives; of more significance than a confident pride in ourselves that will not acknowledge weakness.
The Lutheran Pastor Dietrich Bonhoeffer connected Luther's theology of the cross – our need to die daily to our sinful nature – ‘with the lived reality of Christian discipleship in a threatened world.’ ‘In phrases that echo his theological ancestry,’ he ‘claimed that God is revealed in the world precisely in those places that the world is most prone to ignore: in suffering, rejection, and scorn.’ ‘The God of Jesus Christ takes these anathemas, makes them God's own, and invites all disciples to participate in them.’
Bonhoeffer wrote that to ‘be a Christian does not mean to be religious in a particular way, to make something of oneself ... on the basis of some method or other, but to be ... the [person] that Christ creates in us. It is not the religious act that makes the Christian, but participation in the sufferings of God in the secular life …
following Christ results in the liberation of the self to exist for and with others .. "The Christian ... must drink the earthly cup to the dregs, and only in his doing so is the crucified and risen Lord with him, and he crucified and risen with Christ." Bonhoeffer could thus say that Christ takes hold of Christians at the centre of their lives, while at the same time recognizing that it also Christ who launches Christians into a world of suffering and difference. Hurled into the midst of this world, Christians are not to assume a sense of privilege but are to relinquish privilege for the sake of others …
To be claimed by others is … to participate in the vulnerable God's existence for us. In contrast to a "religion" that can only offer smug reassurance, bourgeois comfort, and pious quietism, the "new life" to which Jesus calls his followers is fraught with risk.
Each of us are like cracked or translucent clay jars because of our flaws and vulnerabilities. It is through these lines of stress – the suffering, rejection and scorn with which we engage - that the light of Christ is seen. It is as we join together in living for the sake of others that we become the Body of Christ and reveal him most fully in the world.
Intercessions:
O God, early in the morning I cry to you. Help me to pray, and to concentrate my thoughts on you: I cannot do this alone. In me there is darkness, But with you there is light; I am lonely, but you do not leave me; I am feeble in heart, but with you there is help; I am restless, but with you there is peace. In me there is bitterness, but with you there is patience; I do not understand your ways, but you know the way for me … Restore me to liberty, And enable me so to live now that I may answer before you and before me, Lord, whatever this day may bring, Your name be praised. Lord, in your mercy, hear our prayer.
O Lord God, Great is the misery that has come upon me; My cares would overwhelm me, I know not what to do. 0 God, be gracious unto me and help me. Grant me strength to bear what thou dost send) and let not fear rule over me. 0 merciful God, forgive me all the sins I have committed against thee, and against my fellows. I trust in thy grace, and commit my life wholly into thy hands, Do with me as seemeth best to thee, and as is best for me. Whether I live or die, I am with thee) and thou art with me, my God. Lord, I wait for thy salvation, and for thy Kingdom. Lord, in your mercy, hear our prayer.
Every Christian in his place should be brave and free, with the world face to face, Though death strikes, his spirit should persevere, without fear, calm and good. For death cannot destroy but from grief brings relief and opens gates to joy. Closed the door of bitter pain, bright the way where we may all heaven gain. Lord, in your mercy, hear our prayer.
The Blessing
Go in peace. Mend what is broken; unite what is divided; live the gospel; and the blessing of God almighty, the Father, the Son, and the Holy Spirit, be among you and remain with you always. Amen.
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Charles Villiers Stanford - Beati Quorum Via.
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Thursday, 29 June 2017
Bread for the World & Light the Well
Last night we enjoyed a wonderful Bread for the World Service at St Martin-in-the-Fields with a temporary installation of the 'Light the Well' community art project led by artist Anna Sikorska, plus songs and music including: Like a candle flame - Kendrick, Longing for light - Ferrell, This little light of mine - arr. Raney, Kindle a flame - Bell, Lord Jesus Christ your light shines within us - Taize, Anthem - Cohen, In a world where people walk in darkness - Shephard, and The Lord bless you and keep you - Rutter. The service was followed by lantern-making and discussion groups, after refreshments.
Here is the reflection that I gave as part of the service:
In 2014 the artist Grayson Perry made a vase as a portrait of Chris Huhne, the Liberal Democrat politician who fell from grace when his wife, Vicky Pryce, revealed that he had asked her to take the blame for his speeding offence and the speeding points incurred. He resigned from the cabinet and was subsequently jailed for perverting the course of justice. Perry thought that Huhne was unchanged by his prison experience and, therefore, represented powerful white males with a kind of bullet-proof, Teflon, confidence and chutzpah that was unaffected by wrongdoing and failure. As a result, Perry purposefully smashed the finished vase and then had it repaired using an ancient Chinese technique which involves lacquer resin dusted or mixed with gold, saying, “I have smashed the pot and had it repaired with gold to symbolise that vulnerability might be an asset in relationships to such a person.”
St Paul told the Christians in Corinth that they had the light of the knowledge of the glory of God in the face of Jesus Christ in their hearts, but that this treasure was in clay jars, so that it might be made clear that this extraordinary power belongs to God and did not come from them (2 Corinthians 4. 6 - 12). If the clay jar, the container of the light, were to be perfectly formed, then the light inside would not be seen from the outside. The light of Christ would effectively be hidden. Like people looking at the confidence and chutzpah of the Teflon-coated Chris Huhne, people would look at our perfect life and not Christ, because they would only see us. Instead, St Paul says, because we are not perfect and have difficulties and flaws we are like cracked clay jars, meaning that it is then clear that where we act or speak with love and compassion, this is because of Christ in us, rather than being something which is innate to us or simply our decision alone. He used this image of light in containers seen through cracks, or thin translucent clay, to assure the Corinthian Christians that they had the light of God in their lives, despite the fallibility and frailty of those lives. Similarly, Leonard Cohen sings in 'Anthem': ‘Ring the bells that still can ring / Forget your perfect offering / There is a crack, a crack / In everything / That's how the light gets in, / That's how the light gets in’.
The artist Anna Sikorska is helping us reflect on these themes through ‘Light the Well’, the community art project which she is undertaking together with the artists and craftspeoples group. The project involves making porcelain lanterns (glazed ceramic globes) like those in front of the altar. The size, surface decoration and character of each lantern will differ, although the base material - and overall look - is consistent white ceramic, roughly made. The lanterns are made by laying strips of porcelain onto a round support. Porcelain clay glows with a transparency individual to itself but those of you that make lanterns later after this service will realise that in order to be as translucent as possible the strips of porcelain need to be as thin as possible. Once made, they are fired and the lanterns are then suitable for being outside. They develop cracks in the firing, through which the light inside will also be seen. In the Light Well these lanterns will be joined together with cord covering the stone floor in a random constellation. The cord also connects a light bulb within each lantern, so each one will shine from within.
These cracked translucent lanterns lit from within are a visible realisation of St Paul’s image of light in clay jars. By linking the lanterns together, this installation will also highlight another aspect of this passage. Paul writes that ‘We are afflicted in every way, but not crushed; perplexed, but not driven to despair; persecuted, but not forsaken; struck down, but not destroyed; always carrying in the body the death of Jesus, so that the life of Jesus may also be made visible in our bodies.’ Paul writes of us in the plural. We are afflicted, but not crushed. We are perplexed, but not driven to despair. It is as we come together to engage with affliction, perplexity, forsakenness, and being struck down that we carry in our body the death of Jesus and show the life of Jesus. It is as we come together, linked, like the lanterns, by the light of Christ that we become the Body of Christ.
I don’t know how the image of a crack letting in light came into the mind of Leonard Cohen but it fits really well with St Paul suggesting that there are fractures and flaws running through each of our lives and that these imperfections actually enable the light within to be seen more clearly. I don’t suppose that Grayson Perry had this passage in mind when he smashed the Chris Huhne vase and had the resulting cracks gilded with gold, but, like St Paul, he suggests that our vulnerabilities are the most precious aspect of our lives; of more significance than a confident pride in ourselves that will not acknowledge weakness.
Dietrich Bonhoeffer wrote that to ‘be a Christian does not mean to be religious in a particular way, to make something of oneself ... on the basis of some method or other, but to be ... the [person] that Christ creates in us. It is not the religious act that makes the Christian, but participation in the sufferings of God in the secular life …
following Christ results in the liberation of the self to exist for and with others .. "The Christian ... must drink the earthly cup to the dregs, and only in his doing so is the crucified and risen Lord with him, and he crucified and risen with Christ." Bonhoeffer could thus say that Christ takes hold of Christians at the centre of their lives, while at the same time recognizing that it also Christ who launches Christians into a world of suffering and difference. Hurled into the midst of this world, Christians are not to assume a sense of privilege but are to relinquish privilege for the sake of others …
To be claimed by others is … to participate in the vulnerable God's existence for us. In contrast to a "religion" that can only offer smug reassurance, bourgeois comfort, and pious quietism, the "new life" to which Jesus calls his followers is fraught with risk.
Bonhoeffer … claimed that God is revealed in the world precisely in those places that the world is most prone to ignore: in suffering, rejection, and scorn. The God of Jesus Christ takes these anathemas, makes them God's own, and invites all disciples to participate in them.’
(https://www.thefreelibrary.com/Religionless+Christianity+and+vulnerable+discipleship%3A+The+interfaith...-a098313403)
Each of us are like cracked or translucent clay jars because of our flaws and vulnerabilities. It is through these lines of stress – the suffering, rejection and scorn with which we engage - that the light of Christ is seen. It is as we join together in living for the sake of others – linked together as the lanterns will be linked in the Light the Well installation – that we become the Body of Christ and reveal him most fully in the world. In this way, the Light the Well community art project and installation will show us what it means to be the Body of Christ – the Church – in the world today.
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Joe Raney (arr) - This Little Light Of Mine.
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Saturday, 17 June 2017
Exhibitions update: Image and identity
I've recently enjoyed seeing two exhibition about image and identity:
Grayson Perry: The Most Popular Art Exhibition Ever!: This summer Grayson Perry, one of the most astute commentators on contemporary society and culture, presents a major exhibition of new work at the Serpentine Galleries. The works touch on many themes including popularity and art, masculinity and the current cultural landscape.
Perry’s abiding interest in his audience informs his choice of universally human subjects. Working in a variety of traditional media such as ceramics, cast iron, bronze, printmaking and tapestry, Perry is best known for his ability to combine delicately crafted objects with scenes of contemporary life. His subject matter is drawn from his own childhood and life as a transvestite, as well as wider social issues ranging from class and politics to sex and religion.
The Most Popular Art Exhibition Ever!, tackles one of Perry’s central concerns: how contemporary art can best address a diverse cross section of society. Perry said: “I am in the communication business and I want to communicate to as wide an audience as possible. Nothing pleases me more than meeting someone at one of my exhibitions from what museum people call ‘a non-traditional background.’ The new works I am making all have ideas about popularity hovering around them. What kind of art do people like? What subjects? Why do people like going to art galleries these days? What is the relationship of traditional art to social media?”
A Channel 4 documentary Grayson Perry: Divided Britain followed Perry as he created a new work for the show: his attempt to capture the thoughts of a divided country a year after the EU referendum. Harnessing social media, Perry invited the British public to contribute ideas, images and phrases to cover the surface of two enormous new pots: one for the Brexiteers and one for the Remainers. He also visited the most pro-Brexit and pro-Remain parts of the country for the programme, which is available to watch on All4.
Saatchi Gallery and Huawei have teamed up to present From Selfie to Self-Expression. This is the world’s first exhibition exploring the history of the selfie from the old masters to the present day, and celebrates the truly creative potential of a form of expression often derided for its inanity.
The show also highlights the emerging role of the mobile phone as an artistic medium for self-expression by commissioning ten exciting young British photographers to create new works using Huawei’s newest breakthrough dual lens smartphones co-engineered with Leica.
I'll also be going to see Art Out of the Bloodlands: A Century of Polish Artists in Britain at the Ben Uri Gallery from 28 June - 17 September 2017. This exhibition focuses on the contribution made by the largest migrant community to 20th/21st Century British Art, this exhibition highlights the work of Polish artists who have worked and continue to work in Britain. Featured artists include: Jankel Adler, Janina Baranowska, Marian Bohusz-Szyszko, Stanislaw Frenkiel, Feliks Topolski and Alfred Wolmark, complemented by contemporary practitioners working in London now. All but a handful of the featured works have been created in England – the new homeland - yet many retain symbols of Polish national identity, from Catholicism and the cavalry, to the dark forests and traditional embroidery.
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Grayson Perry: The Most Popular Art Exhibition Ever!: This summer Grayson Perry, one of the most astute commentators on contemporary society and culture, presents a major exhibition of new work at the Serpentine Galleries. The works touch on many themes including popularity and art, masculinity and the current cultural landscape.
Perry’s abiding interest in his audience informs his choice of universally human subjects. Working in a variety of traditional media such as ceramics, cast iron, bronze, printmaking and tapestry, Perry is best known for his ability to combine delicately crafted objects with scenes of contemporary life. His subject matter is drawn from his own childhood and life as a transvestite, as well as wider social issues ranging from class and politics to sex and religion.
The Most Popular Art Exhibition Ever!, tackles one of Perry’s central concerns: how contemporary art can best address a diverse cross section of society. Perry said: “I am in the communication business and I want to communicate to as wide an audience as possible. Nothing pleases me more than meeting someone at one of my exhibitions from what museum people call ‘a non-traditional background.’ The new works I am making all have ideas about popularity hovering around them. What kind of art do people like? What subjects? Why do people like going to art galleries these days? What is the relationship of traditional art to social media?”
A Channel 4 documentary Grayson Perry: Divided Britain followed Perry as he created a new work for the show: his attempt to capture the thoughts of a divided country a year after the EU referendum. Harnessing social media, Perry invited the British public to contribute ideas, images and phrases to cover the surface of two enormous new pots: one for the Brexiteers and one for the Remainers. He also visited the most pro-Brexit and pro-Remain parts of the country for the programme, which is available to watch on All4.
The show also highlights the emerging role of the mobile phone as an artistic medium for self-expression by commissioning ten exciting young British photographers to create new works using Huawei’s newest breakthrough dual lens smartphones co-engineered with Leica.
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Thursday, 16 June 2016
Art and the Church: A Fractious Embrace

The "book asks what conditions are favourable to enhancing and expanding the possibilities of church-based art, and how can these conditions be addressed? What viable language or strategies can be formulated to understand and analyse art's role within the church? Focusing on concepts drawn from anthropology, comparative religion, art theory, theology and philosophy, this book formulates a lexicon of terms built around the notion of encounter in order to review the effective uses and experience of contemporary art in churches. The author concludes with the prognosis that art for the church has reached a critical and decisive phase in its history, testing the assumption that contemporary art should be a taken-for-granted element of modern church life."
The conversation between Koestlé-Cate and Pickstone reviewed a selection of the artworks specifically explored and discussed in the book. The White Mass by James Lee Byars at Sankt Peter, Köln was held up as an exemplary temporary installation in an ecclesiastical context. The work "consisted of four pillars and a ring made of white marble, brightly lit by a 2000 watt bulb. The ring was set in the middle of the central aisle, with the pillars forming a square around it, which in turn echoed the rectangle formed by the central columns of the church. Each pillar had two letters carved at the top, which represented a different aspect of the questioning spirit of the work. During Mass the white-clad priest and his two acolytes interacted with the work in an orchestrated synthesis of performance and worship."
Fr Friedhelm Mennekes, the incumbent at Sankt Peter, Köln, "exemplifies a view at the other extreme to [Jacques] Maritain et al, declaring a fundamental distrust of the believing artist. Mennekes simply refuses to use Christian artists, since artistic vision, he cautions, is always in danger of being compromised, or taking second place to, Christian zeal. In this he follows [Père Marie-Alain] Couturier's lead."
This view has no time, therefore, for the approach of the Diocese of London's Capital Vision 2020 which aims to build a growing network of vibrant individuals from throughout the worlds of art and culture in London who can speak the language of creatives, engaging and taking the Church into that world and, as creative Christians, helping the Church resonate with its culture while still remaining countercultural disciples of Jesus Christ.
At the same time, the celebrations of the Mass during Byars' installation had much in common with the emphasis on decentralized leadership, congregational participation, multi-sensory experience, ritual and narrative form found in alternative worship. This was perhaps most the case in relation to the anarchic experiments in transformance art offered by the Belfast-based collective Ikon who challenged the distinction between theist and atheist, faith and no faith and whose main gathering employed a cocktail of live music, visual imagery, soundscapes, theatre, ritual and reflection in an attempt to open up the possibility of a theodramatic event. However, it is likely that even Ikon's inhabiting of a space on the outer edges of religious life would have been sufficiently detached from organised religion to escape Mennekes' hermeneutic of suspicion.
Koestlé-Cate writes that, "If a place for art that is not explicitly religious has been affirmed in the church today, an art that is cannot be proscriptively denied; if a place for Christian art or explicitly religious art is not denied, neither can it be prescriptively affirmed." The danger of this approach is that no-one, whether believing or non-believing artists, feels affirmed, and that was essentially the substance of the conversations that I was party to following the conversation between Pickstone and Koestle-Cate.
Their conversation moved on to discussion of the statue of Mary by David Wynne in the Lady Chapel of Ely Cathedral. In contrast with the approval given to The White Mass this was discussed as a lifeless commission which had rightly been savaged by Germaine Greer as 'bad' art.
The issue here is the basis on which such critiques and judgements are made. My perception is there are no shared objective criteria on which such judgements can be made and, as a result, are either entirely based on subjective criteria or on a consensus held by certain groups, generally those most responsible for promoting the work in the first place (i.e. gallery owners, curators and critics). In the case of Greer's critique, Wynne is part of the wrong group - the group favoured by the Prince of Wales - while Mennekes' measure is simply that non-believing artists are good and believing artists are bad.
Grayson Perry acknowledges in Playing to the Gallery that, within the art world, the rule by which people work is that of consensus plus time i.e. “If it's agreed amongst the tribe for a fairly sustained amount of time, then it becomes good taste.” This is, essentially, no different to the seeking after rules which Perry criticizes in the lower middle class: “good taste is just an illusion; it's just that they're obeying the rules of their tribe.” The reality is that many choose to work on the basis that, as artists, commissioners, critics, curators, gallery owners, historians or patrons, they know what good taste is because of consensus plus time. If one is in agreement with the consensus it is, of course, a safe place to be.
Koestlé-Cate's book is a substantive contribution to these debates and is of particular value because it explores what viable language or strategies can be formulated to understand and analyse art's role within the church. It may be, however, that what is revealed is that the language and strategies currently employed ultimately satisfy no one because they each privilege particular groups over others, as opposed to looking for the good in all.
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Leonard Cohen - Almost Like The Blues.
Koestlé-Cate's book is a substantive contribution to these debates and is of particular value because it explores what viable language or strategies can be formulated to understand and analyse art's role within the church. It may be, however, that what is revealed is that the language and strategies currently employed ultimately satisfy no one because they each privilege particular groups over others, as opposed to looking for the good in all.
-------------------------------------------------------------------------------------------
Leonard Cohen - Almost Like The Blues.
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Wednesday, 27 January 2016
Bread for the World: Paying attention through art
Here is my reflection from tonight's Bread for the World Informal Eucharist at St Martin-in-the-Fields:
The artist Grayson Perry told this story in the last of his Reith Lectures: “Recently a friend told me that she was working on an education programme at the Whitechapel Art Gallery and at the beginning of the project she asked the children, she said, “What do you think a contemporary artist does?” And this very precocious child, probably from sort of Muswell Hill or somewhere like that, she put her hand up and she said, “They sit around in Starbucks and eat organic salad.” Now it was probably quite an accurate observation of many fashionable artists in East London, but I thought … you know anyway. So then after this, they spent some time looking at what contemporary artists did. And at the end of the project, she asked them again, “What now do you think an artist does?” And the same child, she said, “They notice things.” And I thought wow, that’s a really short, succinct definition of what an artist does. My job is to notice things that other people don’t notice.”
Noticing things that other people don’t notice; that thought is one area of overlap between the Arts and Christianity, because in his letter to the Philippians, St Paul encourages to look out for see those things that are true, honourable, just, pure, pleasing, commendable, excellent and worthy of praise (Philippians 4. 8) and, as we know, from the latest Christmas Appeal, Simone Weil says that to pay attention is prayer.
As a result, the art historian Daniel Siedell suggests that the Arts can help us with looking and paying attention. He says, “Attending to … details, looking closely, is a useful discipline for us as Christians, who are supposed to see Christ everywhere, especially in the faces of all people. If we dismiss artwork that is strange, unfamiliar, unconventional, if we are inattentive to visual details, how can we be attentive to those around us?”
Problems come, as he notes, when we dismiss what we see or when, as Jesus said, we are people who see but do not perceive, who hear but do not listen (Matthew 13. 12 - 14). Some more stories from the Arts can help us think more about how that happens.
In 2007, the Uffizi Museum in Florence lent Leonardo da Vinci’s The Annunciation to the Tokyo National Museum for three months. More than 10,000 visitors flocked to the museum every day to see the renaissance masterpiece. A number which, when divided by the museum's opening hours, equates to each visitor having about three seconds in front of the painting - barely long enough to say the artist's name, let alone enjoy the subtleties of his work.
By contrast, a well-known art historian observed as he entered the first room of the Leonardo da Vinci exhibition at the National Gallery went nose-to-nose with Leonardo's The Musician, and there he stayed for about 10 minutes, rocking backwards and forwards, before moving from side-to-side, and then finally stepping back four paces and eyeing up the small painting from distance. And then he repeated the exercise. Twice.
The 10,000 visitors per day visiting the Tokyo National Museum during those three months wanted to see Leonardo’s Annunciation, but did they really ‘see’ it? They certainly didn’t see it in the same way that the art critic saw Leonardo's Musician.
There are then different ways of looking and different ways of seeing and so, as Daniel Siedell suggests, the experience of looking at art can help us learn how to really see. So, what can art teach us about looking and seeing? The point of the story about the art historian was that he paid attention to the painting. To what might he have been paying attention?
An art historian or critic is likely to look at and think about an artwork in relation to four different facets. The first is the artwork itself as an artefact, in other words to look at what it is as an object in its own right. This is always the starting point and the thought to return to when looking at art. So, the first question to ask ourselves is, what is the essence of this artwork; what are the things that make it unique and differentiate it from other things? It is a question we can ask of anything or anyone that we see; what is unique about this thing or person?
Next, it is helpful to consider the ideas and influences of the artist. When God created human beings, we were said to be made in his image. As a result, something of the maker shows up in the thing which has been made. By knowing something about the artist, we may be able to see more in the artwork than we otherwise would. St Paul says the same thing about God in his letter to the Romans when he says that ever since the creation of the world God’s eternal power and divine nature, invisible though they are, have been understood and seen through the things he has made (Romans 1. 19 -20).
Then, the art historian or critic may think about the relationship that the artwork has with its historical and art historical context. At St Stephen Walbrook we will, during Lent, be showing a digital installation by Michael Takeo Magruder called Lamentation for the Forsaken in which the artist evokes the memory of Syrians who have passed away in the present conflict by weaving their names and images into a contemporary Shroud of Turin. This installation can’t be understood without reference to the current refugee crisis. We also understand each other more by observing how we react and respond to events around us.
Finally, we might think about our own response and that of others to the artwork. With works of art, we can often read articles, books or reviews about the work and with other people we are always hearing other people’s impressions or views of those they have met or whom we know. Paying attention to those impressions or views can help us shape our own impressions.
Thinking about each of these four facets can help us genuinely pay attention to art, to people and to the things around us. Thinking about these four facets can help shape our overall response to a work of art, a person or an object; often in ways that we wouldn’t otherwise expect or realize.
As we know from the latest Christmas Appeal, Simone Weil famously said that “Attention, taken to its highest degree, is the same thing as prayer. It presupposes faith and love. Absolutely unmixed attention is prayer.” When we pay attention in this way, we are also following St Paul’s advice to look at and think about those things that are true, honourable, just, pure, pleasing, commendable, excellent and worthy of praise.
---------------------------------------------------------------------------------------
Gordon Gano (feat. Mary Lou Lord) - Oh, Wonder.
The artist Grayson Perry told this story in the last of his Reith Lectures: “Recently a friend told me that she was working on an education programme at the Whitechapel Art Gallery and at the beginning of the project she asked the children, she said, “What do you think a contemporary artist does?” And this very precocious child, probably from sort of Muswell Hill or somewhere like that, she put her hand up and she said, “They sit around in Starbucks and eat organic salad.” Now it was probably quite an accurate observation of many fashionable artists in East London, but I thought … you know anyway. So then after this, they spent some time looking at what contemporary artists did. And at the end of the project, she asked them again, “What now do you think an artist does?” And the same child, she said, “They notice things.” And I thought wow, that’s a really short, succinct definition of what an artist does. My job is to notice things that other people don’t notice.”
Noticing things that other people don’t notice; that thought is one area of overlap between the Arts and Christianity, because in his letter to the Philippians, St Paul encourages to look out for see those things that are true, honourable, just, pure, pleasing, commendable, excellent and worthy of praise (Philippians 4. 8) and, as we know, from the latest Christmas Appeal, Simone Weil says that to pay attention is prayer.
As a result, the art historian Daniel Siedell suggests that the Arts can help us with looking and paying attention. He says, “Attending to … details, looking closely, is a useful discipline for us as Christians, who are supposed to see Christ everywhere, especially in the faces of all people. If we dismiss artwork that is strange, unfamiliar, unconventional, if we are inattentive to visual details, how can we be attentive to those around us?”
Problems come, as he notes, when we dismiss what we see or when, as Jesus said, we are people who see but do not perceive, who hear but do not listen (Matthew 13. 12 - 14). Some more stories from the Arts can help us think more about how that happens.
In 2007, the Uffizi Museum in Florence lent Leonardo da Vinci’s The Annunciation to the Tokyo National Museum for three months. More than 10,000 visitors flocked to the museum every day to see the renaissance masterpiece. A number which, when divided by the museum's opening hours, equates to each visitor having about three seconds in front of the painting - barely long enough to say the artist's name, let alone enjoy the subtleties of his work.
By contrast, a well-known art historian observed as he entered the first room of the Leonardo da Vinci exhibition at the National Gallery went nose-to-nose with Leonardo's The Musician, and there he stayed for about 10 minutes, rocking backwards and forwards, before moving from side-to-side, and then finally stepping back four paces and eyeing up the small painting from distance. And then he repeated the exercise. Twice.
The 10,000 visitors per day visiting the Tokyo National Museum during those three months wanted to see Leonardo’s Annunciation, but did they really ‘see’ it? They certainly didn’t see it in the same way that the art critic saw Leonardo's Musician.
There are then different ways of looking and different ways of seeing and so, as Daniel Siedell suggests, the experience of looking at art can help us learn how to really see. So, what can art teach us about looking and seeing? The point of the story about the art historian was that he paid attention to the painting. To what might he have been paying attention?
An art historian or critic is likely to look at and think about an artwork in relation to four different facets. The first is the artwork itself as an artefact, in other words to look at what it is as an object in its own right. This is always the starting point and the thought to return to when looking at art. So, the first question to ask ourselves is, what is the essence of this artwork; what are the things that make it unique and differentiate it from other things? It is a question we can ask of anything or anyone that we see; what is unique about this thing or person?
Next, it is helpful to consider the ideas and influences of the artist. When God created human beings, we were said to be made in his image. As a result, something of the maker shows up in the thing which has been made. By knowing something about the artist, we may be able to see more in the artwork than we otherwise would. St Paul says the same thing about God in his letter to the Romans when he says that ever since the creation of the world God’s eternal power and divine nature, invisible though they are, have been understood and seen through the things he has made (Romans 1. 19 -20).
Then, the art historian or critic may think about the relationship that the artwork has with its historical and art historical context. At St Stephen Walbrook we will, during Lent, be showing a digital installation by Michael Takeo Magruder called Lamentation for the Forsaken in which the artist evokes the memory of Syrians who have passed away in the present conflict by weaving their names and images into a contemporary Shroud of Turin. This installation can’t be understood without reference to the current refugee crisis. We also understand each other more by observing how we react and respond to events around us.
Finally, we might think about our own response and that of others to the artwork. With works of art, we can often read articles, books or reviews about the work and with other people we are always hearing other people’s impressions or views of those they have met or whom we know. Paying attention to those impressions or views can help us shape our own impressions.
Thinking about each of these four facets can help us genuinely pay attention to art, to people and to the things around us. Thinking about these four facets can help shape our overall response to a work of art, a person or an object; often in ways that we wouldn’t otherwise expect or realize.
As we know from the latest Christmas Appeal, Simone Weil famously said that “Attention, taken to its highest degree, is the same thing as prayer. It presupposes faith and love. Absolutely unmixed attention is prayer.” When we pay attention in this way, we are also following St Paul’s advice to look at and think about those things that are true, honourable, just, pure, pleasing, commendable, excellent and worthy of praise.
---------------------------------------------------------------------------------------
Gordon Gano (feat. Mary Lou Lord) - Oh, Wonder.
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