A couple months ago, I went to the di Rosa museum up in Napa and saw Paul Kos' Chartres Blue installation.
http://www.paulkos.net/Paul_Kos/Artwork_Installation_Chartres_Bleu.html
In brief, this is a lot of TV screens depicting a window in the Chartres Cathedral over the course of a day - but in 12 minutes. It has small pews, is incredibly tiny and dark, just the monitors and some emergency lights near the exits, and a stunning meditation piece. I'd have spent far more time there, but was in a guided tour and wasn't allowed to linger.
The entrance, to this piece, created for this, the permanent installation, was a stations of the cross - and was so overwhelming. And impossible to get picture of, but this is one. It's just Roman Numerals, 10 feet tall, one after the other. Crammed into this walkthrough, you could never do the huddled mass that happens in most churches, circling the pews. You just stand there and it presses down from all sides, with the sound of dripping water, and the only place to go is into this stained glass wall, that you can't tell is flickering until you stop to rest from the overwhelming Romans.
http://www.paulkos.net/Paul_Kos/Artwork_Installation_Chartres_Bleu,Tunnel_Chapel_2.html
So, today, I went to see Newman's Stations of the Cross. This is what a more articulate person than me says about his work.
Newman began working on the fourteen paintings in this series shortly after his first heart attack. He didn't have a name for them when he began, and only gave them their name after having completed the first four. After naming them, he decided to add the remaining 11 paintings (a 15th painting has a different name--Be Two--but is treated as part of the series). He wrote about how he realized, while working on the fourth painting, that the paintings were having a profound emotional impact on him; it was that emotional impact which gave him the name for the series. In other words, he did not search for iconographic meaning; nor did he try to create it. In fact, as he worked, he treated each painting as a distinct, independent painting at the same time that he conceptualized it as part of the series. Because of this ontology, it is difficult to say when Newman decided to make a series in order to limit the parameters of choice, to have to work within a predetermined framework. There are restrictions in the series--of color and scale--and these restrictions are experienced in a much fuller fashion by seeing 15 paintings than they might have been experienced or even noticed in one or two paintings.
If, as Harold Rosenberg has suggested, Newman's "mission" or passion was the destruction and transformation of self, then in the Stations of the Cross he has applied this goal to what had become his signature style. Conversely, if Newman's Stations is about the Holocaust, than the viewer's experience of this series is one in which the viewer, placed in this position of moving from one painting to the next and visually responding to the restrictions and differences, actively participates in the act of memory and loss, or the memorialization of the Holocaust.
http://www.radford.edu/~rbarris/art428/newman's%20sublime.html
And here is an example of the series. Although, like nearly all the art I go see, the pictures are nearly meaningless in their ability to convey intensity as intended outside their medium. Modern art didn't make sense to me when I was only looking at it in books or on computer screens - so much of it is embodied in the medium itself that you need the thing - the cavnas and the paint and the light - in order for it to make sense.
First Station - http://www.radford.edu/~rbarris/art428/newman's%20sublime.html
You can look for images online - but if you are in San Francisco for awhile, or live near the National Museum of Art - where it usually lives - I suggest you check it out for yourself. This canvas is 5x6.5 feet - they feel big like standing in front of a person. And they tell a tale, but not without the context of the others - at least for me. The tale is told differently taking them in one by one or if you just walk past them one after the other.
So, what I wonder is what happened?
I am always struck by how powerful modern interpretation of Christian themes is, and how, perhaps without fail, they are accompanied by information from the artist and the critics that it isn't religious. I often speculate on what the hell happened in the church that made people pull away so strongly. In a very basic sense, religion is a systemic speculation of meaning. One might say, a collective expression of WTF. And the counter-culture, the post modernist of the 20th century, really were engaged in asking that question. Exactly what were churches doing, that such powerful religious art was created and all I ever encountered were Chick Tracts and song lyrics by Stuart Hine and John Newton (I'll let you look up those incredibly popular songs yourself.) I grew up in a Baptist church, and I don't know them to be very interested in visual arts - so we sang a lot of bloody songs(blood, jesus, lyrics gets you 9.5 million tesults in .33 seconds, each one more banal than the next). As an adult in the Episcopal church, with all that stained glass and stations of the cross around the rooms, I still encountered lots of pithy art, lots of church goods catalog art, lots of imitation and reproduction art from long, long ago, in a mawkish universe far, far away. Yes, it's tasteful, except for all the brass plaques everywhere, but none of it really takes your breath away.
I really want to know why churches and demoninations and Christians (although they are not alone in this) became so sentimental. I want to know why we sing such assinine songs in church - not just the remants of the 70's folk mass, there are agregious examples throughout history, although in a course of music, it seems that the real thrust of nausea started in the late 18th or all of the 19th century. And the mid 20th century was a nostalgic dream that we are still trying to stay asleep for. (Yes, I went to a tiki themed party at the Disney museum for my 19th anniversary. I'm not saying that I am immune to this delusion.) What is wrong with all this? Why is it so tacky and cheesy and boring and tastefully uninspiring? Why, when I live in the 21st century, am I supposed to relate to art from 500 years ago, why is the current stuff all Victorian tripe? Where are all the grown up Christians hiding? Where am I supposed to go when I am not a newbie and I am not interested in exploring the same old introductory to Christianity? How many catechisms am I supposed to attend? No wonder we have the spiritual wanderers? The only way to encounter something new is to find someone elses' introductory materials.
I'm awfully glad I went the art museum today. Awfully glad that I saw examples of creations clever and ingeneous specialization in the Skulls exhibit and our human response to the need to find meaning in our experiences of that creation. I feel far more fed than usual on a Sunday afternoon.

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