WHAT QUALITIES MAKE A GOOD CONTEMPORARY WORK OF ART FOR AN ECCLESIASTCAL SETTING?
Art shouldn’t be added to a church just for its own sake. The role of a work of art in an ecclesiastical space should be primarily to draw people to God. It is not in the church to make the church seem more beautiful, more famous, attract sight-seers, to show that the clergy or congregation are culturally aware, to show that we are encouraging creativity, aware of trendy fashions in the arts, or any of the worldly reasons. Some of the least useful contemporary church commissions seem to have been chosen for what will attract fame, visitors, financial contributions – wanting a famous artist’s name or a newsworthy commission, which will make the church seem culturally aware or ‘put it on the map’. In warning against this, Vatican II pronounced: “Let Ordinaries, in their furtherance and encouragement of a truly sacred art take care that their aim is noble beauty rather than mere display. This holds good for sacred vestments and ornaments.” (Sacrosanctum Concilium: On the Sacred Liturgy: 124, 1967 p.53)
Any of these considerations should be minor aims. The primary aim should be to enhance the spiritual response of the viewer within the sacred space.
The secondary aim is to enhance the sacred space.
4 major aims of ecclesiastical art has are:
Vatican II pronounced that “it is of the greatest importance that the faithful should be able to understand easily the signs conveyed in the sacraments” (Sacrosanctum Concilium: On the Sacred Liturgy: 59, 1967 p.34) and a measure of this understandability is important in the arts. Art may be allusive and not immediately readable, but art that remains opaque to many in a congregation is rarely useful in the liturgical context.
MEANING Ecclesiastical art should be:
STYLE
CONTENT
The Commissioning PROCESS
TEMPORARY INSTALLATIONS AND EXHIBITIONS
Art shouldn’t be added to a church just for its own sake. The role of a work of art in an ecclesiastical space should be primarily to draw people to God. It is not in the church to make the church seem more beautiful, more famous, attract sight-seers, to show that the clergy or congregation are culturally aware, to show that we are encouraging creativity, aware of trendy fashions in the arts, or any of the worldly reasons. Some of the least useful contemporary church commissions seem to have been chosen for what will attract fame, visitors, financial contributions – wanting a famous artist’s name or a newsworthy commission, which will make the church seem culturally aware or ‘put it on the map’. In warning against this, Vatican II pronounced: “Let Ordinaries, in their furtherance and encouragement of a truly sacred art take care that their aim is noble beauty rather than mere display. This holds good for sacred vestments and ornaments.” (Sacrosanctum Concilium: On the Sacred Liturgy: 124, 1967 p.53)
Any of these considerations should be minor aims. The primary aim should be to enhance the spiritual response of the viewer within the sacred space.
The secondary aim is to enhance the sacred space.
4 major aims of ecclesiastical art has are:
- To enhance people’s personal response to God.
- To add to the spiritual atmosphere of the setting.
- To speak into the sense of theological meaning in the place of worship.
- To add to the liturgy.
Vatican II pronounced that “it is of the greatest importance that the faithful should be able to understand easily the signs conveyed in the sacraments” (Sacrosanctum Concilium: On the Sacred Liturgy: 59, 1967 p.34) and a measure of this understandability is important in the arts. Art may be allusive and not immediately readable, but art that remains opaque to many in a congregation is rarely useful in the liturgical context.
MEANING Ecclesiastical art should be:
- Suited to purpose for which the art is commissioned.
- Appropriate to the use and meaning of the space.
- Speak into that space and interact with it and with the people who use it.
- Relevant to the people who us the space.
- Meaningful
- Spiritually and theologically truthful. One of the specifications of Vatican II was that the church should be “choosing among artists’ works those that are in conformity with the faith, true religion and faithfully preserved traditional laws, and are moreover, adapted to sacred use… take care to diligently keep out of the churchesof God and other holy places, works of art opposed to faith and morals and Christian devotion (or that) offend true religious feeling either by their corrupt forms or by their lack of art, their mediocrity or their meretricious character ” (Sacrosanctum Concilium: On the Sacred Liturgy:122-123, 1967 p.52-3). This of course presupposes enlightened commissioners and judges of art, rather than those with little appreciation of qualities in contemporary art. But those commissioning art should think carefully of whether it will be appreciated by the congregations who will be using the work and also whether it will contribute truthfully to the liturgical function of the space.
- The art should speak into the sense of theological meaning in the place of worship and add to the spiritual atmosphere,
- Challenging – It should encourage people to think and respond. It shouldn’t just affirm ideas they already have. Sometimes to challenge we may need to disquiet, but we should aim not to deliberately offend in ways that might divert people from seeking spiritual truth with in the work. However, shock tactics for their own sake, characteristic of some modernism and some contemporary artists rarely lead to devotion. Vatican II pronounced: “sacred images… should not shock or surprise the Christian people, or give encouragement to aberrant devotion”. (Sacrosanctum Concilium: On the Sacred Liturgy: 125, 1967 p.53). The latter is certainly true, but surprise is often a way in which a work of art or a theological truth catches our attention. If an artist is inspired to truly communicate something prophetic in their art, the element of surprise might be an intrinsic quality in their work. As Boccaccio recognised over Dante’s poetry, easily won information is quickly forgotten, puizzling through something can be pleasurable, more profound and more memorable. (Boccasccio’s 1374 Life of Dante, 2002 transl Nichols, J.G. Hesperus Press, London p.51-2)
- The best art of sacred subjects encourages the viewer to consider spiritual matters and think about what they believe.
- Aiming to enhance people’s personal response to God.
- Adding to the iconography already present in the setting (try not to duplicate iconography).
- Art shouldn’t distract from liturgy or draw focus away from worship. Art can contribute to the liturgy.
- You can have too much of a good thing. Vatican II rightly noted that sacred image in churches “should not be too numerous and should be arranged in fitting order.” (Sacrosanctum Concilium: On the Sacred Liturgy: 125, 1967 p.53)
STYLE
- First and foremost the work should be “good art” and speak to today. Too much Church art has been weak, shallow, derivative.
- It need not be overtly ‘original’ in style as many Modernists aimed to create, but should not appear second-rate or derivative, or it may not attract the attention of viewers or encourage engagement.
- Stylistically the work should complement the space.
- It should be of a size appropriate and proportional to the space – neither over-dominant nor insignificant Art should not dominate the space but speak into and enhance it.
- Colour, form, line, texture etc. may reflect, add to, or transform the space. Creating contrasts may be as valuable as harmonising.
- If intended to be a permanent installation, the work should be of a style that won’t date too quickly. Much mid-20thC modernist art in churches seems dated already.
- Works should speak to contemporary faith in contemporary ways.
- ‘Beauty’ is not always a prerequisite for modern and contemporary art, but ‘truth’ can hold a sort of beauty. Vatican II in talking of sacred are suitable for churches asked that “sacred furnishings should serve as worthy and beautiful instruments to enhance the comeliness of worship, admitting such changes in materials, design or ornament as technical progress has introduced in the course of time.” (Sacrosanctum Concilium: On the Sacred Liturgy: 122, 1967 p.52). Augustine saw beauty as a shallow attraction in art. It should not be an end in itself. It was only justifiable if it captivated the viewer in order that they might be drawn into a more serious intellectual engagement through a work and be encouraged to learn the language by which the work could communicate more profoundly through the ideas within it.
- Capture the imagination seize attention, inoorder to arouse senses, which in turn arouses our minds, the mind scrutinises the image futher in order to understand, and theough that the pastoral or doctrinal message is communicated. Thourhg that in thus our spiritual life is strengthened and aour lives and actions change.
CONTENT
- In a post-modern society, multi-faith society, the best Christian art will aim to present Christian understandings of truth without offending those with different beliefs, tastes or sense of propriety.
- Meaning in the best Christian Art is conveyed by nuances, being rich in allusions to spiritual references or iconography, without being too didactic or overtly dogmatic.
- A Protestant tradition was to painting ‘metaphors’ for faith. Christian art doesn’t need to be of explicitly religious or biblical subjects.
- Art in a public setting should be ‘accessible’. This does not imply that it need be bland or simplistic.
- It should aim to engage people’s minds and spirituality.
- Most church goers are less visually literate than sensitive to meaning in words. Consider including discussions on the work or other ways to draw out people’s responses.
The Commissioning PROCESS
- If possible choose artists who are able to create art about things they know and feel. The work will be more truthful. The artist does not necessarily need to believe the same as you, but it helps if they have an inspired and inspirational soul.
- Choose an artist who will involve you in the design process, not someone who is too autocratic, which might present you with a work inappropriate to your needs.
- Choose church-people to work with the artist who know about art and can work together to help in the inspirational process. Vatican II encouraged this: “suitable priests endowed with the necessary skill and love of art, will take a careful interest in instructing artists in the spirit of sacred art and of the Liturgy. In addition it is recommended that schools or academies of sacred art for the education of artists should be established in those places in which it may seem advisable.” (Sacrosanctum Concilium: On the Sacred Liturgy: 127, 1967 p.53) The latter consideration is interesting. Perhaps churches do not involve themselves enough in the training and encouragement of those who will be producing work for them. We would not want to restrict the church or artists from developing individually, or restrict inspiration, but there is value in closer interaction between artist and commissioning body in order to train artists to think and design in ways that will expand the quality and usability of their art for liturgical purposes. The corollary is also true. Church leaders who are involved in using and commissioning art need enlightenment and training in understanding the purposes and values of sacred art, in order to commission the most useful pieces. Vatican II recognised this: “During their philosophical and theological studies, clerical students will receive instruction in the history and evolution of sacred art as well as in the right principles that should underlie the works of sacred art. In this way they will be able to value and preserve the Church’s venerable monuments and be ready with informed advice for artists in their work.” (Sacrosanctum Concilium: On the Sacred Liturgy: 129, 1967 p. 54). If we recognise that art is valuable for the encouragement of prayer and worship in many Christian traditions, perhaps a similar policy should be encouraged in other theological training, or, if time is not available in a busy curriculum, in continuing ministerial training after ordination.
- Sometimes commissioners and art bodies say “it’s up to the artist to create a spiritual response in art, and we’ll learn how to respond to it”. That of course is part of our response to any piece. We need to give artists freedom to explore their subject and treatment creatively. Art dictated by a team is rarely good art. But I think many commissioning processes need to engage more with the artist’s process of creativity at an early stage in order to deepen the potential contribution of the works to the Church’s mission and ministry.
- Artists need to remember the sacred purpose for which the work is being commissioned. “All artists who following their natural bent, intend to serve the glory of God in Holy Church, should always remember that they are dealing with something like a sacred imitation of God the Creator, that their work is with things made for Catholic worship, the edification and devotion of the faithful and their religious instruction.” (Sacrosanctum Concilium: On the Sacred Liturgy 127 1967 p.54)
- The spiritual thought that goes into exploring a subject suitable for a place of worship is an important process for ALL concerned – artist, commissioning body AND those who will use the space.
- The commissioning process should engage the clergy, members of the church including the wider public and schoolchildren, talking, sharing ideas, discovering what speaks to people.
- Such a discussion process with doesn’t distract from the artist’s personal creativity, but deepens it, to consider what might enhance the viewer's faith, not just the artist’s own response to the subjects.
- I believe that commissioning churches should discuss more fully with artists than many do at present, how their works might contribute directly to liturgy, worship and prayer. Too often discussions are confined to subject, style, form and similar practical issues. The potential spiritual use of the work is equally important.
- Consider the permanence of the artist’s techniques and the environment of the work of art. Too many good works of art have been adversely affected by the environment.
- Churches are not primarily art galleries or historical and cultural settings. Nor should they just aim to enhance people’s sense of being generally ‘spiritual’ beings. Christian churches have a mission. They aim to encourage relationships with the Trinitarian God which will sustain and build Christian faith. Art for such settings should help towards this spiritual focus.
- In Anglican churches and others the process of gaining a “faculty” or official permission for installing a piece can be frustrating and time-consuming. Be prepared for this, and encourage the artist and congregation through the long process.
- Try to make sure that you know how you aim to finance a project, & have some resources in hand before proceeding with any commission. A number of projects flounder through failure in this.
- Installing a work of art is not the end of the process. It is important to help people to learn how they might engage with the work - times of reflection focusing on the work, using it liturgy, helping people explore how it might enhance their worship, etc.
TEMPORARY INSTALLATIONS AND EXHIBITIONS
- Consider whether using temporary exhibitions or installations might suit your aims. With temporary works viewers don’t become so familiar with the work that they take it for granted.
- If using temporary works, remember that artists need to make a living. Consider supporting them by “hiring” the work at a reasonable rate.
- If using temporary work, give the work time for people to respond to it and learn how to use it. Some don’t notice works immediately. It can take time for a work of art to have an influence on the people using a space.
- Temporary art may be slightly more challenging than work designed to be permanent. Installing it doesn’t necessarily entail getting a “faculty” for installation in the church, but you may need agreements about ‘fixings’ if they interfere with the fabric.
- Remember that art in churches should be insured. Sometimes this means no addition, or no appreciable rise to church insurance costs.