Seen and Unseen: This gallery refresh adds drama to the story of art

My latest article for Seen and Unseen is 'This gallery refresh adds drama to the story of art' which explores how rehanging the Sainsbury Wing at the National Gallery revives the emotion of great art:

'Christianity became the predominant power shaping European culture after classical antiquity, inspiring artists and patrons to evoke the nature of sacred mysteries in visual terms. The rehang of The Sainsbury Wing brings to life the way artists forged a new way of painting, painting with a drama that no one had seen before and with stories flowing across panels in colourful scenes. These displays also promote a greater understanding of how works of art were, and still are, used as models of moral behaviour, as celebrations of the deeds of holy figures or as a plea for one’s hopes, both in this life and in the afterlife.'

For more on the National Gallery and the place of art in Christendom see here, here, here, here, here, here, here and here.

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.

My 21st article was entitled 'James MacMillan’s music of tranquility and discord'. In the article I noted that the composer’s music contends both the secular and sacred.

My 22nd article was a book review on Nobody's Empire by Stuart Murdoch. 'Nobody's Empire: A Novel is the fictionalised account of how ... Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.'

My 23rd article was entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space.

My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.

My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.

My 26th article was entitled 'The biblical undercurrent that the Bob Dylan biopics missed' and in it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

My 27th article was entitled 'Heading Home: a pilgrimage that breaks out beauty along the way' and focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel.

My 28th article was entitled 'Annie Caldwell: “My family is my band”' and showcased a force of nature voice that comes from the soul.

My 29th article was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

My 30th article was entitled 'How Mumford and friends explore life's instability' and explored how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love.

My 31st article was entitled 'The late Pope Francis was right – Antoni Gaudi truly was God’s architect' and explored how sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

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John Dunstable - Ave Maris Stella.

The Kingdom of God has come near you

Here's the sermon that I shared at St Mary's Runwell and St Catherine's Wickford this morning:

In the National Gallery in 2013 you could find a St. Francis without a head and with a candy-grabber crane that went inside his body and which, if you were lucky, pulled out a T-shirt saying chastity, obedience and poverty; another St. Francis was mounted on a donation box and, when you put money in, he hit himself over the head with a crucifix. Michael Landy’s large-scale sculptures consisted of fragments of National Gallery paintings cast in three dimensions and assembled with old machinery, cogs and wheels, meaning that visitors could crank the works into life with a foot pedal mechanism.

They sound like pieces designed to mock St. Francis and other Saints represented and yet Landy is an artist who is fascinated by the renunciation and kindness that Saints like Francis have shown through their lives. Landy is best known for two works. The first being an installation in a former C&A store on Oxford Street, where over a two week period, he destroyed all his possessions except for the clothes in which he stood. The second being ‘Acts of Kindness’ where Landy asked members of the public who had witnessed or taken part in acts of kindness while travelling on the tube, to write about them. So, as at least one of the art critics reviewing the show at the National Gallery, has noted while enjoying the jokiness of the lucky dip St. Francis, “you also sense that Landy thinks Britain could do with a little of St Francis’s spirit.”

St. Francis lived out his faith and that is what today’s Gospel reading (Luke 10. 1 – 11, 16 – 20) is all about. This passage from Luke’s Gospel gives us Jesus’ inspirational team talk just before sending his disciples out to be his advance guard preparing those in the towns and other places to be visited by Jesus shortly after. He gives his disciples a message to share – “The Kingdom of God has come near you” – but his main focus is on the behaviour and attitude of his disciples; the way in which they live and act.

He instructs them to live simply (“don't take a purse or a beggar's bag or shoes”); to be focused (“don't stop to greet anyone on the road”); to be peace givers (“whenever you go into a house, first say, ‘Peace be with this house.’”); accept hospitality (“stay in that same house, eating and drinking whatever they offer you”); bring healing (“heal the sick in that town”); share your message (“say to the people there, ‘The Kingdom of God has come near you.’”); and move on when not accepted (“the dust from your town that sticks to our feet we wipe off against you”).

These instructions of Jesus became a model for itinerant preachers throughout Church history including St. Francis and his followers. The words “Preach the Gospel at all times, if necessary use words” are often attributed to St. Francis but, while certainly reflecting something of what he said and did, that is not a phrase he actually used. ‘Francis did focus on proclaiming the word in deeds – as well as in words. And if you have ever read any of Francis’ own writings it is easy to see that Scripture is infused everywhere in his words, his life and his being – and his actions. It is easy to see where the oft-quoted phrase came from; for example, the Legend of the Three Companions’ includes this inspirational team talk from St. Francis:

“Calling together the six brothers, Saint Francis, since he was full of the grace of the Holy Spirit, predicted to them what was about to happen. “Dearest brothers,” he said, “let us consider our vocation, to which God has mercifully called us, not only for our own good, but for the salvation of many. We are to go throughout the world, encouraging everyone, more by deed than by word, to do penance for their sins and to recall the commandments of God. Do not be afraid that you seem few and uneducated. With confidence, simply proclaim penance, trusting in the Lord, who conquered the world. Because by his Spirit, He is speaking through and in you, encouraging everyone to be converted to him and to observe his commandments”’ (http://friarmusings.wordpress.com/2012/09/26/preach-the-gospel-at-all-times-if-necessary-use-words/)

But what has all this to do with us, as we are generally not being called by God to become itinerant preachers? The answer is very simple, that our actions, as well as our words, speak powerfully about our faith. Negatively, this is the reason why Christians are often criticised as being hypocrites; others look at what we do and complain that we aren’t practising what we preach. When our actions and our words come together, however, then our witness is powerful; to see that we only have to think of examples provided by Saints like Francis or more recent followers of Christ like Dietrich Bonhoeffer, Martin Luther King Jnr, Mother Teresa, Oscar Romero, Desmond Tutu, among others.

This is also one reading of the message which Jesus gave his disciples to proclaim. Do you remember what it was? It was not quite the message that we might have expected or anticipated. The disciples weren’t given the message that ‘God is love’ or to ‘repent and believe’; instead they were told to say that “The Kingdom of God has come near you.”

What did that mean? The disciples were the heralds for Jesus’ imminent arrival in that place, so it would certainly have meant Jesus is coming and the Kingdom of God arrives where he arrives. But, because the disciples were also living out their faith in practice, as those bringing peace and healing into the communities they visited, it also meant that the Kingdom of God could be seen in their lives and examples too. This can still be true for us today. Doing good, for Christians, is not about our salvation – it’s not about earning God’s love – instead it is a consequence of our salvation; because God has loved us so much, we then want to love others and, as we do, the Kingdom of God comes close to those we love, help and heal.

That is the challenge of this passage for us today and so, in the words of St. Francis:

Dearest brothers and sisters let us consider our vocation, to which God has mercifully called us, not only for our own good, but for the salvation of many. We are to go throughout the world, encouraging everyone, more by deed than by word, to do penance for their sins and to recall the commandments of God. Do not be afraid that you seem few and uneducated. With confidence, simply proclaim penance, trusting in the Lord, who conquered the world. Because by his Spirit, He is speaking through and in you, encouraging everyone to be converted to him and to observe his commandments.

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Big Star - The Ballad Of El Goodo.

The Metropolitan Cathedral of Christ the King Liverpool

While in Liverpool today, there was also time to walk along Hope Street from the Anglican Cathedral to the Metropolitan Cathedral of Christ the King. 

Hope Street, which connects Liverpool’s two Cathedrals, has the Better Together - Sheppard Worlock memorial which celebrates the lives and achievements of Archbishop Derek Worlock and Bishop David Sheppard. The bronze sculpture takes the form of two 4.5m high doors. It’s strong visual presence frames the views of the Cathedrals and allows the viewer to walk between the ‘open doors’. Low relief press cuttings and other symbols from Bishop David and Archbishop Derek’s lives allow the audience to engage with the piece further.

The remarkable Metropolitan Cathedral of Christ the King is the largest Catholic cathedral in England. The Metropolitan Cathedral of Christ the King is a dramatic icon of faith, architecture, and human endeavour. It is an awe-inspiring landmark on the Liverpool skyline. The spirit of the Metropolitan Cathedral is deeply embedded in its fascinating history – a tale of determination, tenacity and conviction that, despite the odds, saw architects, builders, craftsmen, residents and church elders work together to fulfill their holy ambition. To create a place of special, deeply spiritual resonance for all who use it.

Architects throughout the world were invited in 1960 to design a Cathedral for Liverpool which would relate to the existing Crypt, be capable of construction within five years, cost at the current prices no more than £1,000,000 for its shell, and most important of all, express the new spirit of the liturgy then being radically reformulated by the Second Vatican Council. Of 300 entries from all over the world, Sir Frederick Gibberd’s (1908-1984) design was chosen, and building began in October 1962. A Pathé newsreel showed stages of the building process. Less than five years later, on the Feast of Pentecost, 14 May 1967, the completed Cathedral was consecrated.

Gibberd’s design was highly innovative and the circular plan form put the altar at the centre of everything, with sixteen structural ribs carrying the huge circular lantern of some two thousand tons which lights the body of the cathedral. Around the perimeter, chapels of various designs stand in the interstices of the ribs, separated by glazed strips to emphasise their independence from the main space.

Externally the building formed a crown rising above the city streets and providing a counterpoint to the large central tower of Giles Gilbert Scott’s Anglican cathedral, with the contrast further emphasised by the use of Portland stone to contrast with Scott’s red sandstone. Internally a large baldacchino is suspended over the altar, its design reflecting the structure of the cathedral and the ‘crown of thorns’ of the lantern above.

The Cathedral's majestic interior includes modern works of art and stunning design features, such as its striking Lantern Tower - the world’s largest area of coloured glass. The stained glass to the main lantern was designed by John Piper and Patrick Reyntiens and depicts in abstract the Trinity using the three primary colours. Various artworks were commissioned from leading artists and sculptors including Elisabeth Frink, Ceri Richards, Margaret Trehearne and Sean Rice. The gates of the freestanding baptistery adjoining the building, and the floor pattern were by David Atkins, an artist who was a member of the Gibberd practice.

Of special note is the magnificent Lutyens Crypt and Treasury, situated within the Cathedral. An architectural gem in its own right, the Crypt is one of the most significant works in this country of the leading British architect Sir Edwin Lutyens. Part of an earlier Cathedral design, the Crypt offers a fascinating glimpse of what might have been, had it been completed.

The Cathedral is currently hosting the sculpture ‘The Need for Freedom’ by prominent contemporary Ukrainian artist, Dmytro Iv. This striking artwork, which shows the figure of a chained but rising woman, represents Ukraine’s struggle for peace and freedom. Created in 2012 and measuring 7 foot in height, it consists of dozens of steel chains welded together in over four thousand points. The artwork was previously exhibited in the UK in 2015, when it won a silver award at the prestigious international contemporary art festival ‘Passion for Freedom’.

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Echo and the Bunnymen - What Are You Going To Do With Your Life?