Museum of Contemporary Religious Art

September 14, 2011

The Learned Art of Presence

MOCRA’s upcoming exhibition features the work of artist Adrian Kellard, who died in 1991 from AIDS-related causes. His name joined the too-long litany of creative lives cut short by the shears of the pandemic. This exhibition falls during the 30th year of the plague and the 20th anniversary of Kellard’s death, and the impact of AIDS on Kellard’s life is one sub-theme of the exhibition. The references are direct and explicit in some works, such as The Promise, Prayer of the Faithful in Ordinary Time, and Healing . . . The Learned Art of Compassion. But overall a sense of compassion and spiritual strength suffuses all of the works, qualities that sustained Kellard through the struggles associated with the disease.

Adrian Kellard, Healing . . . The Learned Art of Compassion (detail), 1985-86.

Adrian Kellard, "Healing . . . The Learned Art of Compassion" (detail), 1985-86. Latex on wood. MOCRA Collection.

Yesterday I came across a recent New York Times review of We Were Here, a recently released documentary about the response of San Francisco’s gay and lesbian community to the onslaught of HIV/AIDS in the 1980s and 1990s. The article caught my eye not only for its resonances with the Adrian Kellard exhibition, but also because the documentary includes an interview with artist Daniel Goldstein. Works from Goldstein’s Icarian series were included in MOCRA’s seminal 1994 exhibition Consecrations: The Spiritual in Art in the Time of AIDS, and one of the works is now in the museum’s collection. That work appeared in MOCRA’s Good Friday exhibition, and prompted a thoughtful reflection from one of our visitors, recorded in this blog post. For the Icarian series, Goldstein took  leather covers from workout benches salvaged from a gym in the Castro District and enclosed them in simple but noble framing cases–creating, in a real sense, reliquaries for these mementoes of the many men who used the gym.

Daniel Goldstein, Icarian II / Incline, 1993.

Daniel Goldstein, "Icarian II / Incline," 1993. Leather, sweat, wood, copper, felt, plexiglas. Private collection.

Like Kellard, Goldstein employs his art to mediate and express a response to the reality of AIDS. Goldstein, it should be noted, also founded two non-profit organizations to generate funds for AIDS-related education and services. The trailer for We Were Here (on the film website, or on YouTube) includes snippets of the interview with Daniel Goldstein (he is the third person to speak).

As I re-read an essay by Robert Atkins on the Icarian series, I’m struck by one line: “The gay/AIDS subtext of Goldstein’s work is also open to a generational reading.” Atkins is referring to the different ways in which the works might be apprehended by gay men who remember a pre-AIDS world and those who grew up under the specter of AIDS. Since MOCRA is a university museum, I’m reminded of the “Mindset Lists” that circulate at the beginning of every academic year, updating educators on their students’ cultural frame of references. AIDS and HIV don’t rate a mention on this year’s list — the disease was entrenched well before these students were born, and reasonably effective treatments have been on the market for most of their lifetimes — so I’m curious to see how much background we’ll have to provide, how much translation will be entailed, in helping our younger visitors make a connection to Adrian Kellard’s work.

But, as with Goldstein’s reliquaries, the deeper currents of compassion, love, service, hope, and cherished memory expressed in Kellard’s woodcuts, flow well beyond the specificity any one disease, any one group of people, any one city, any one generation.

— David Brinker, Assistant Director

March 19, 2009

Wrestling with Veronica’s Veil

Filed under: Exhibitions, Good Friday, Guest blogger — Tags: , , , — mocraslu @ 5:12 pm

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)

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 clothIcarian 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.

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