In response to numerous requests from visitors, MOCRA has extended the exhibition Good Friday through May 17, 2009.
MOCRA’s hours are Tuesday through Sunday, 11 a.m. to 4 p.m. Don’t miss this additional opportunity to experience one of MOCRA’s most popular shows ever!
More info about the exhibition is available here.
It seems that every time I post I’m explaining the infrequency of our updates. But I’m pleased to say it’s just because we have been so busy.
The “Art and the Religious Imagination” conference was well received. Pamela Ambrose and Gerald Bolas gave distinct but complementary reflections on the way art museums can present the religious art in their collections in innovative ways. Charles Bouchard used the works in Good Friday to examine theological thought on the question of human suffering. (Sadly, Kevin Burke had to cancel due to a family emergency, but we anticipate inviting him back next spring.) A dynamic question-and-answer session followed, with some excellent insights from audience members.
A few pictures are included below, and we’ll try to have summaries of the talks available soon.
In the meantime, we are preparing for Good Friday on Good Friday. MOCRA’s Easter weekend hours are:
| Friday, April 10, 2009 (Good Friday) | 9:00 a.m. – 5:00 p.m. | |
| Saturday, April 11, 2009 | 11:00 a.m. – 4:00 p.m | |
| Sunday, April 12, 2009 (Easter) | closed |
To our readers observing Pesach or Holy Week, we wish you a season of peace and holiness.
Today we have our first guest blog. Thanks to Courtney Henson, MFA, Visitor Services Manager at the Pulitzer Foundation for the Arts for this commentary on a work by Daniel Goldstein. (Be sure to check out the PFA’s great blog, along with the blog of the PFA’s next-door-neighbor, Contemporary Art Museum St. Louis, at 2 Buildings – 1 Blog.
*****
The Wrestler by Darren Aronofsky cross-referenced with Icarian XI/Leg Extension by Daniel Goldstein:
After visiting Good Friday at MOCRA, I found attachments to several works — mostly those involving textile media or found objects and at this particular show, mostly dealing with the topic of HIV/AIDS.
A few days later, I found myself confronted with the story of Randy “the Ram” in The Wrestler and thinking back to Icarian XI/ Leg Extension. Between the workout scenes in The Wrestler, Randy’s overly tanned skin and the allusions of him toward Jesus, I kept thinking back to the leather seat because of its original life as an overworked piece of equipment. The seat now transcends that life and has this residue that shows its hard work — the stains of those who used it have become its stigmata.
When contemporary art finds an even more contemporary reference, I feel it proves the power of the work of art. When Randy shows off his scars to his friend, Cassidy (played by Marisa Tomei), Cassidy quotes a line from The Passion and draws parallels to Randy as a type of Christ figure. Certainly Randy, with his long blond hair and Jesus tattoo on his lower back, emulates a figure who aims to redeem himself.
from left: Luis González Palma, "El Santo Sudario" (1989); Daniel Goldstein, "Icarian XI/Leg Extension" (1993); Georges Rouault, "By His Stripes We Are Healed," from the series "Miserere et Guerre" (1922)
The artwork by Goldstein similarly shows the struggles played out by the human body for the sake of becoming more godlike, at least by contemporary society’s standards. The work is composed of a leather covering for a workout bench, the brand name Icarian. The covering was salvaged from a gym in San Francisco’s Castro neighborhood at a pivotal time during the AIDS epidemic. The piece is housed in a shadow box and displayed like a shrine. In this memorial, the leather is deeply scarred from use; years of sweat are seeped into its surface. There are creases and crinkles from where it was wrapped around the bench. The object is powerful in its stains of sweat, alluding to the story of Veronica’s cloth. Icarian XI/Leg Extension seems to have the faint image of a portrait; as I write this, I find my reflection placed in its outline — reminding me of the importance of placing myself in the shoes of others.
I would entreat you to view two things this week: The Wrestler by Darren Aronofsky, and Icarian XI/Leg Extension by Daniel Goldstein at MOCRA.
In addition to preparing our “Reflecting on Good Friday” booklet, we’ve been assembling a conference, to be held on March 29, 2009. Titled “Art and the Religious Imagination,” it will feature a panel of distinguished museum directors and theologians discussing the roles that secular and religious art museums can play in the presentation of art with spiritual and religious content. Panelists will also explore how spiritual and religious art has the potential to invite viewers into a deeper interior journey.
You can find a list of the panelists and the titles of their talks on the MOCRA website.
I’m hopeful that some of the concerns I mentioned in my previous post about the booklet will be considered during the discussion. For instance, how does an institution produce reflection materials that have a chance of speaking to a broad range of visitors? Can such materials cross the borders between different faiths, or even different spiritualities within one tradition? How are specificity and universality balanced in such materials?
If you will be in St. Louis on March 29, please join us from 1:30 to 4:00 p.m. and add your voice to the proceedings.
–David Brinker, Assistant Director
It’s been another busy stretch at MOCRA. The response to Good Friday has been tremendously positive, with a higher-than-usual number of groups scheduling visits. We’ve also been busy with two projects:
MOCRA's "Good Friday" booklet
The first, supported by a grant from the VOICES project at Saint Louis University (funded by the Lilly Endowment), is a booklet of reflections on the artwork in Good Friday for use by visitors who wish to approach the exhibition in an attitude of meditation or prayer. The booklet takes a different approach from our wall texts/didactics. While those provide relatively “neutral” information about the iconography of the work or the artist’s expressed intent, the booklet explicitly puts the works in a (Christian) faith context. You can see a sample page on the MOCRA website.
This is something we’ve been interested in trying for a while now — bridging art appreciation with theological reflection and catechesis (religious education) — and this exhibition presented an excellent opportunity to experiment. So far feedback has been encouraging.
The challenge ahead will be to develop similar resources for future exhibitions (which may not have such clearly religious themes) and for visitors of other faith traditions. Also, we will be exploring what sorts of activities are “appropriate” in a museum setting–either sponsored by the institution, or simply permitted?
We’d welcome feedback from our blog readers. If you would like a copy of the booklet, send us a message with your snail mail address and we’ll send one your way.
[contact-form]
–David Brinker, Assistant Director
Installation view, "Good Friday." MOCRA's nave gallery, looking west
Foreground: Peter Ambrose, “First Death” (1990)
On wall: Michael David, “Crowning with Thorns” (1985)
Background (partially obscured): Juan González, “Don’t Mourn, Consecrate” (1987); Michael Tracy, “Triptych: 11th, 12th and 13th Stations of the Cross for Latin America — La Pasión”; Ian Friend, “The Protestant Affliction III” (1991/92)
Installation view, "Good Friday." MOCRA's nave gallery, looking east
On wall: James Rosen, “Homage to the ‘Pietà d’Avignon’” (1989-91); Study for “Homage to the ‘Pietà d’Avignon’”
Background: Peter Ambrose, “First Death” (1990)
The walls don’t move themselves, of course. Relocation involves a careful coordination of muscle, carpet scraps, shims, and (of course) at least a couple of staff members to supervise and offer helpful comments.
Once the wall was in place this time, it certainly shook up the typical MOCRA floor plan. Though the giant nave is now split, I can’t say it feels fractured. It serves a great function by creating a line between stages of the Passion of Christ.
A frequent visitor comment about MOCRA, is how distinctive a venue it is for the display of art: the lofty 30-foot ceiling in the nave gallery, the twelve intimate side-chapel galleries, the hints of stained glass color that leak out from behind the window shades. It is as if the building has a memory of its previous incarnation as a chapel, a memory that imbues the space with an inviting atmosphere of contemplation and calm.
From a curatorial perspective, the space is a mixed blessing. There is a surprising amount of running wall space, yet the chapel’s configuration lends itself to some exhibitions but not others. For instance, a natural approach to organizing our upcoming exhibition would be to install the works following the sequence of events of Good Friday. But the side chapel galleries will not accommodate works larger than 6 feet wide — and one of the first works in sequence is nearly 7 feet wide!
What about grouping works by theme? This show naturally includes quite a few works that reference the Crucifixion. Should they be grouped together to allow easy comparison, or should they be distributed throughout the gallery to avoid monotony? Here again the sizes of the works provide a partial guide, as larger works had to be installed in the nave gallery. Style and media also play a role — we seek a visually harmonious installation as well a logical one.
We have made one significant adjustment to the nave gallery which will come as a surprise to visitors familiar with the museum: there is now a wall bifurcating the central gallery, effectively creating two galleries out of one large space. It takes some getting used to, but also offers a whole new way of conceiving an installation at MOCRA. Just to give you a little taste of the effect, here is a picture of the wall — sans artwork — along with a similar view from our 1994-95 exhibition Consecrations: The Spiritual in Art in the Time of AIDS:
A new wall inhabits in MOCRA's nave gallery. The lift at right is not an installation piece.
You are seeing a glimpse of Doug DePice’s Jesus in Central America – First Station of the Cross there on the left.
Installation view, "Consecrations: The Spiritual in Art in the Time of AIDS" (1994-95).
Stop by this Sunday, February 15, and see for yourself how we installed this exhibition. Do you agree with our choices, or would you have approached things differently?
–David Brinker, Assistant Director
It’s been a while since our last post, but it doesn’t mean we’ve been slacking off. We’re just over a week away from the opening of MOCRA’s next exhibition, Good Friday.
Coming Soon!
The exhibition opens on Sunday, February 15, with a free public reception from 1:30 to 3:30 p.m. If you are in the St. Louis area, please stop by.
More information about the exhibition, include sample images, is available on MOCRA’s website.
It’s been busy behind the scenes as we undertake the various tasks related to a new exhibition: publicity, building out parts of the gallery, deciding on where each work will hang, writing the texts for the wall labels and didactics, and myriad other details.
Juan Gonzalez' "Don't Mourn, Consecrate" ... installation in progress
For instance, this exhibition involves recreating a couple of works that haven’t been installed for some years. One by the late artist Juan González, titled Don’t Mourn, Consecrate, originally hung in the street-level windows of New York University’s Grey Art Gallery. It was last shown in MOCRA’s 1994-95 exhibition Consecrations: The Spiritual in Art in the Time of AIDS. The photo at right demonstrates one of the many uses for bubble-wrap, here serving to help us visualize the size and position of the stats of AIDS-related deaths that will hang to the right of the image.
Rejected clocks.
Sometimes exhibition installations can send us on unexpected shopping expeditions. One work by the late artist Adrian Kellard includes a small kitchen wall clock. However, when the work arrived at MOCRA several years ago the clock did not make the journey. All we have to go on is a picture of the work in the artist’s studio. How difficult, you might ask, is it to find a clock of suitable size, style, and (significantly for the work), sound?
It turns out to be surprisingly difficult, involving rummaging around local resale shops, calling stores in the Yellow Pages, and searching on E-bay and numerous other websites. In the end, though, after a few disappointments, we found one that fit the bill.
The clock in situ.
Over the next week (in theater it’s called “Hell Week,” and that is apt for museums as well) I’ll see if I can’t get a few of the other staff members to pause long enough to share their observations and anecdotes.
In the meantime, please check out the MOCRA website for more information on Good Friday, and come by on February 15.
–David Brinker, Assistant Director
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Bob the Blogger
MOCRA is one of a number of arts organizations located in St. Louis’ Grand Center district. Over the past few years, we’ve been working together with the Pulitzer Foundation for the Arts, Contemporary Art Museum St. Louis, and the Sheldon Art Galleries (all in Grand Center), along with the Saint Louis Art Museum, the Kemper Art Museum, Laumeier Sculpture Park, White Flag Projects, and Boots Contemporary Art Space, to promote awareness of and participation in the visual arts community in St. Louis.
One recent result of this collaboration is the Saint Louis Art Map blog. Here’s the current mission statement:
This collaborative blog aims to fill a void in the online art world by becoming a place for information and critical discussion about the non-profit visual fine arts in St. Louis. Topics are focused on art and institutions with a national and international emphasis, and places them within the local context of St. Louis’ thriving and diverse visual arts community. Through partnerships with guest bloggers, as well as behind-the-scenes posts from institution curators, directors, staff members, visiting artists, etc., the combination of first-party and third-party sources provides information from a wide range of viewpoints.
In a world where cultural coverage continues to shrink, this collaborative blog hopes to inform visitors – both in and out of town – of our activities and to foster discussion in and about our city.
It’s a work in progress, to be sure–take a look and give us your feedback.
Meanwhile, you can also read a blog post by our Museum Assistant, Bob Sullivan, reflecting on the resonances between the current exhibitions at MOCRA and the Pulitzer. It’s on the Pulitzer’s blog (2Buildings1Blog), which also features posts from the Contemporary.
– David Brinker, Assistant Director