The remembrances offered by Fred’s family, friends and colleagues (including Stanley Crouch, Lowery Stokes Sims,* Stephen Rosenberg, and Sherry Bronfman) made manifest a man who was deeply immersed in his heart, but not in a way that isolated him from others. Rather, his art expressed his full and passionate engagement with the people in his life and the movements and events of his time. His daughter Sebastienne shared a note she found in one of his sketchbooks, addressed to those he loved:
When you know I love you, my heart is full, and I love myself. Just to see a smile is enough to keep me afloat in the great sea of life, and I give it back as often as possible. You are my main source and reason to do great things, and to become as complete a human being as I am capable of being. Just remember that I love you.
The vitality of Fred’s life was celebrated in another way through the musical offerings of outstanding jazz musicians including Henry Threadgill and David Virelles, Oliver Lake, and Amina Claudine Myers. Jazz music and the artists who create it were a perennial subject in Fred’s art and an integral part of his life.
Trinity Church has made a video of the service available on its website for a limited time. I encourage you to set aside some time to watch this tribute to an outstanding artist and human being. Watch the video here.
— Terrence E. Dempsey, SJ, Director
* Lowery Stokes Sims was unable to attend the service. Her remembrance was read by Jean-Claude Samuel.
Today’s edition (2/23/2012) of the St. Louis Jewish Light includes an article previewing MOCRA’s new exhibition, Archie Granot: The Papercut Haggadah. The article includes comments from artist Archie Granot, and collector Max Thurm (who with his wife Sandra commissioned the work), along with a few framing remarks from yours truly. Read the article here.
Granot (pictured) was commissioned to present the story and rituals of the Passover Seder in the traditional medium of papercutting. The resulting 55 pages employ intricate geometric and abstract shapes and calligraphic text to create an exquisite and unique version of the Haggadah.
Granot expresses his hope that viewers will be inspired by a labor of love that reflects much thought and introspection. “The creation of a Haggadah for Passover is the ultimate dream for any artist creating Jewish art,” he said. “I have been lucky in that I have achieved this dream.”
MOCRA’s next exhibition is titled Archie Granot: The Papercut Haggadah. Israeli artist Archie Granot was commissioned to present the story and rituals of the Passover Seder in the traditional medium of papercutting. The resulting 55 pages employ intricate geometric and abstract shapes and calligraphic text to create an exquisite, unique version of the Haggadah.
A free public opening reception will be held on Sunday, February 26, 2012, from 2:00 to 4:00 p.m. Collectors Sandra and Max Thurm, who commissioned the work, will be in attendance. The exhibition will be on display at MOCRA through May 20, 2012.
Click here to visit the exhibition page on MOCRA’s website, or continue reading to learn more about the show.
About the exhibition
Haggadah (הַגָּדָה) is Hebrew for “telling,” namely, the telling of the Exodus story at the Seder service during the Jewish festival of Pesach, or Passover. The term also signifies a book that contains the ritual guide to the Seder, along with scripture passages, commentary, prayers, and songs. For centuries the Haggadah has been one of the most celebrated items of Jewish literature and art, and there are many examples of both handwritten and printed Haggadot with intricate illustrations. In each generation artists continue the tradition of reinterpreting the Haggadah for contemporary believers.
Commissioned by Sandra and Max Thurm, Archie Granot’s Papercut Haggadah was handcrafted using the Jewish folk art tradition of papercutting. The result is a series of 55 pages that employ intricate geometric and abstract shapes and calligraphic text to create an exquisite version of the Haggadah.
Granot evokes the intense emotions attached with the Passover Seder by utilizing geometric and abstract shapes instead of the usual symbols. Every word of Hebrew text in his Haggadah is handcut, with each page standing as both an independent work of art and a single piece of a beautiful, thematically unified whole. Each page of his multi-layered paper pieces (some nearly an inch thick) tackles a certain aspect or song associated with the Seder, such as “Ma Nishtanah” (מה נשתנה, The Four Questions), or “Pesach, Matzah, Maror” (פֶּסַח, The Passover Offering; מַצָּה, the Unleavened Bread; and מָרוֹר, the Bitter Herb), which incorporates shapes that evoke the traditional matzah.
About the artist
Archie Granot was born in London in 1946 and moved to Israel in 1967. Prior to settling in Jerusalem in 1978, he was a member of an agricultural community where he milked cows and grew melons. He earned a M.Phil. in Russian Studies from the University of Glasgow, Scotland, and a B.A. in Political Science and Russian Studies from the Hebrew University, Jerusalem. Granot started papercutting in 1979, and maintains a studio and gallery in Jerusalem. Many of his papercuts carry a reminder of the Holy City, a source of his inspiration, and he often employs texts that relate to Israel, Judaism, and Judaica. Granot has had solo exhibitions in the United States, Israel, and Germany, and has participated in group exhibitions in France and Japan. His works are found in public collections in Israel, Germany, England, and the United States, as well as numerous private collections.
Each year December 1 is observed throughout the world as a day of solidarity with those living with HIV/AIDS, and of remembrance of those who have died. December 1 is also Day With(out) Art, on which museums and galleries worldwide celebrate a day of action and mourning in response to the AIDS crisis, with such events as shutting down museums, sending staff to volunteer at AIDS services, or sponsoring special exhibitions of work about AIDS.
A visit to MOCRA’s current exhibition, Adrian Kellard: The Learned Art of Compassion, is another way to mark this special day. Kellard’s life was cut short by AIDS in 1991, and he grappled with his experience of illness through his art. His colorful woodcuts poignantly express both pain and enduring faith.
Today we also release a special episode of the MOCRA Voices podcast series, featuring an interview with curator and art historian Thomas Sokolowski. Sokolowski was instrumental in the founding of Day With(out) Art and the creation in 1991 — 20 years ago — of the red ribbon for AIDS awareness. In this interview, Sokolowski talks about the close relationship between art and AIDS activism, and reflects on the past, present and future role of art where AIDS is concerned.
We’ve prepared an extensive Listening Guide to accompany the podcast, with information about the 20th anniversary of the red ribbon, activist art, and more.
As we pause to reflect, remember, and renew on this day, let us recommit ourselves to generous and untiring support and care for those living with HIV/AIDS, and redouble our efforts to find a cure. Let us cultivate, as Adrian Kellard urged, healing — the learned art of compassion.
Early this year we launched MOCRA Voices, a podcast series of conversations with thinkers and practitioners at the intersection of contemporary art, religion, and spirituality. Our aim is to take listeners in-depth with artists, scholars, theologians, religious leaders, and others who are engaged in the ongoing dialogue between visual art and the religious and spiritual dimensions.
We’ve just posted a new episode that focuses on the art and life of Adrian Kellard, the subject of MOCRA’s current exhibition, Adrian Kellard: The Learned Art of Compassion. Host John Launius and MOCRA Director Terrence E. Dempsey, S.J., are joined by Regina DeLuise, a close friend of Kellard and an artist photographer in her own right, and Susan Schreiber, Kellard’s New York gallery dealer. Dempsey, DeLuise, and Schreiber share stories of Kellard that serve to illuminate his artistic aims and influences, his distinctive visual style and treatment of his woodcut medium, and the ways in which Kellard’s upbringing, sexual orientation, and faith found expression in his work.
In addition to the podcast itself, we’ve prepared an extensive listening guide that provides context about the East Village art scene, the early years of the AIDS pandemic, the art of woodcuts, and more.
The tenth anniversary of September 11, 2001, poses challenges to those who are somehow involved in the civic and cultural life of a community. There is little doubt that it is a significant occasion, but much harder to articulate the nature and interpretation of its significance, and harder still to shape and produce rituals, objects, or writings that meet the demands of the day. Nonetheless, we must try, and so here we offer a few reflections from MOCRA.
That September morning I woke up as usual with NPR’s “Morning Edition” on my bedside radio. So it was that I heard the first reports of a plane crashing into one of the Twin Towers. By the time I arrived at the museum the terrible events of the day were continuing to unfold, and I joined colleagues and students in a nearby classroom building, sickeningly spellbound by the ceaseless repetition of the footage of the buildings collapsing.
I don’t recall that the work we had on display at the time (selections from the MOCRA collection) particularly spoke to the tragedy. But later that fall, we put up a show that did seem to offer a peculiar sort of consolation. MOCRA’s Director, Terrence Dempsey, SJ, gives this recollection:
“In the fall of 2001, MOCRA opened Andy Warhol’s Silver Clouds. Our large chapel space was filled with over 60 of Warhol’s pillow-shaped, silver coated mylar balloons with just the right balance of helium and air and stirred about the space by over 25 fans. Some people likened it to being inside an aquarium with schools of fish gently swimming by; others likened it to being inside a lava lamp. At times we would play The Gymnopedies of Erik Satie to serve as a musical score for the Clouds’ improvised choreography.
One woman came into the museum and sat down in the center of the space for about a half hour, with the Clouds gently floating by her and brushing against her. After the half hour, she got up, walked over to me and with tears in her eyes, said, ‘You have no idea how important this exhibition has been to me at this time—thank you,’ and then she left. I don’t know what was going on in her life—whether it had anything to do with 9/11 or if it was some personal matter—but somehow that experience was a healing one for her.”
Something about the Clouds allows them to connect with all sorts of people. Perhaps it’s their immediacy and presence, or their ability to project a sense of personality. They seem liberated and resilient, yet at the same time vulnerable.
A year later, on the first anniversary of 9/11, the Silver Clouds were back for an encore presentation. That day we showed an HBO-produced documentary titled “In Memoriam” throughout the day. The Clouds were corralled into one corner of the nave gallery, restrained from floating for that first anniversary observance. It seemed to be an appropriate occasion for rehearsing and interpreting the events of the tragedy. Words and on-site footage were the order of the day. Still, the Clouds were flying again the next day, mute but speaking truths nonetheless.
A September 9 article in the New York Times describes contention over the role of clergy in September 11 memorial observations. Religion is bound up with September 11 and its aftermath, from controversies over the interpretation of the Koran to questions about whether the U.S. invasion of Iraq was a morally justified response. The clamor over a proposed Islamic center near Ground Zero and an expanded mosque in Murfreesboro, Tennessee, shows that religion and its manifestations remain a divisive issue. Has the concept of “civic religion” run its course? How do we find common ground without sacrificing our specificity of belief and practice?
In the St. Louis region at least, and I suspect in all quarters, the arts, especially music, are playing a prominent role in the memorial observances. For instance, a number of arts, religious, and civic organizations have come together to present “An Interfaith Memorial in Music commemorating the tenth anniversary of September 11, 2001.” The organizers describe it this way:
This event, commemorating the 10th anniversary of the September 11, 2001 attacks, will be religious and interfaith in character. It will be a program to inspire and allow reflection, express sorrow and regret, and unify the community in hope for peace. One statement of the message of the event: although we cannot directly bring about world peace, we can do what we can, in our community, together and in public. The program will include:
First Responders from the County Police and City and County Fire Departments, Presentation of the colors
Senator John Danforth, Invocation
Christine Brewer, Soloist, Opera Theatre of St. Louis
String Quartet, St. Louis Symphony
Religious musical expressions of various faith communities
For those wishing to attend the Interfaith Memorial, it takes place on September 11, 2011, 5:30-6:30 p.m., at the Sheldon Concert Hall, 3648 Washington Blvd., St. Louis 63108. Click here for more information.
SGC International is the largest print organization in North America, and its annual conference is the biggest annual gathering focused on the field of printmaking. This year’s conference, titled Equilibrium, is hosted in St. Louis by the Sam Fox School of Design and Visual Arts, Washington University in St. Louis. Artists from all 50 states as well as Canada, South and Central America, and Europe will be in attendance. According to the conference organizers,
The conference theme Equilibrium addresses printmaking’s timeless ability to absorb constant change and to balance complementary forces within the shifting landscape of the field. . . . Equilibrium explores the challenges, fluctuating forces, currents, and (new) waves, as well as the poise, reflection, and continuity of print in the 21st century.
MOCRA will be among several museums and galleries participating in the conference’s Saturday events held in the Grand Center Arts District. Come visit us during our regular hours on Saturday, March 19, 2011, to see MOCRA’s exhibition of Georges Rouault’s Miserere et Guerre series, then stroll over to the other museums and galleries in Grand Center for an unforgettable concentration of the best in printmaking past, present, and future.