Rob Wetherington Art and Spiritual Development Models Survey

By Rob Wetherington
Philadelphia, Pennsylvania
July 15, 2009

Contemplative Art


Oedipus (Elvis Johnson #1) by Ray Johnson (1956-7)


James Dean (Lucky Strike) Ray Johnson, 1957
Ray Johnson’s pieces convey the idea of Contemplative Art because they were arguably the first pieces of Pop Art. Ray Johnson’s work asks the viewer to question the images and logos surrounding them in the commercial culture of the 1950s and 60s. These pieces in particular spoke to the American obsession with movies and music during this time period. As the radios and movie theaters grew in availability the quality of these works began to go down. These pieces were taken from entertainment news magazines following the lives of celebrities instead of hard journalism. Ray Johnson asked the viewer to question what is put in front of them instead of accepting and participating in the growing American commercialism.



Art and Conscience


John Wayne Gacy, 2009, Jeff Guinn
In the book The Spirituality of Art Lois Huey-Heck describes Art and Conscience as works resulting in internal analysis. The basic idea is that “when we acknowledge our potential for causing harm we are less likely to act it out” (Huey-Heck and Kalnin, pg. 93). She also cites Mother Teresa as saying that she did what she did because she knew there was a Hitler inside her (pg. 93). These quotes convey the message that each individual is capable of doing good and evil. Inside of each of us is the potential to do wrong to another and unless we confront the possibility we are in danger of oppressing another.
The work selected by Jeff Guinn, the portrait of John Wayne Gacy, puts a human face to a mass murderer. The intent of the artist was to question the redemption and grace received through Christ. Gacy stated on more than one occasion that he held no belief in God, but Guinn painted the picture in an attempt to ask “what if…” What if Gacy was not executed, but was instead given a life sentence. Would he have changed his mind and called out to God for forgiveness? We will never know because of the death penalty.
In discussing the work with the artist I questioned whether Gacy was executed because of the crimes he committed or if he was executed because his existence would be a reminder of what could potentially be found in each of us. Jesus said in Matthew 5 that if we have hate in our heart it is equal to murder. This piece raises the question why people, specifically Christians, support the act execution when they have received such grace from the Father.

Art and Healing
Joseph Beuys was a Luftwaffe pilot in the German air force. According to his myth of origin, his plane crashed in a remote area during the Second World War and he was nursed to health by nomadic tribes people because they coated his body in fat and wrapped him in felt. The images of fat and felt influenced Beuys for the rest of his life. While his use of these materials stemmed from a real physical healing it was also Beuys who tried to bring healing to others through his work.
In The Spirituality of Art Huey-Heck discusses her encounter with a statue of Mary. She was put off by the piece at first, but then she saw that Mary was crushing a snake under her feet. Huey-Heck approached the sculpture with certain thoughts about women and their representation through Eve and Mary, but when she noticed that Mary was crushing the snake the piece took on a whole new meaning. One of the biggest criticisms of Beuys’ work was that he did not directly address the Nazi’s or the Holocaust, but some of this might have to do with his own mental health and how he dealt with the atrocities of war. In a sense, he did address these issues although not as directly as some would have liked. Just as Huey-Heck had to spend time with Mary in the garden to gain a new appreciation so must critics of Beuys.
Through Arborsculpture Beuys hoped to create a new view of society where everyone is an artist. The image of a tree growing is an answer the criticism of him not addressing his part in the Luftwaffe. Through his political and artistic philosophies Beuys brings new life to the German town of Kessal by having 7000 trees planted. His premise was that if more people participated in planting the trees and moving the rocks that were piled up across from the site the quicker the relation between less rocks and more trees would occur. By having people involved in the instillation of the piece he allowed others to express creatively. By planting so many trees in the town he presented an idea of new growth and healing from the atrocities of WWII. This change in perception, as everyone as art and everyone an artist gives new meaning to individual lives. If each person is an artist creating art and they themselves are art then all should be cherished and none should be looked down upon.


7000 Oaks, 1982, Joseph Bueys

Art and Community
Ray Johnson was mentioned earlier as perhaps the founder of Pop Art. Some have also said that he created something like an analog World Wide Web through his New York Correspondence School. This system in the second half of the 20th century inspired and connected people across the world. He mailed pieces and asked others to add to them in collage. He would inscribe directions or requested clippings to be added, but he would often let the other person add whatever they felt needed to go onto the piece.

Mail Art, Ray Johnson
Today there is the International Union of Mail Artists (IUOMA). This group has a website that encourages people from around the world to use the postal service for art creation. It was founded in 1988 and now has a very large following though the website.
Art and the Seasons of Life Christmas (Birth)


Nude Descending a Staircase 2, 1912, Marcel Duchamp
Lois Huey-Heck described this season of life as light versus dark. Immediately upon reading this I was reminded of this work by Marcel Duchamp. His use of color, line, and motion were unheard of in 1912 and as such it speaks to me concerning the idea of a new creation. The image does not represent the physical birth, but that of ideas and perception. Duchamp received much criticism for this piece, but the idea influenced many artists in the 20th century. His blend of Cubist and Futurist perspectives and the representation of movement make this piece come alive. The geometric shapes and stark divide of light and dark are an inspiration.
Huey-Heck lists other seasons of life, but I felt that this was the most important and since the Duchamp piece jumped into my mind once I read the section I felt it unnecessary to expound on the other subcategories. Christmas (Birth) is not what we are expecting. The Jews believed that the Messiah would be a powerful king who would rule an earthly kingdom with Jerusalem as his thrown. In life we are faced with new beginnings that do not appear as we had imagined. The difference is being able to embrace these instances and run with them versus standing immobile and resistant. The history behind Nude Descending a Staircase 2 reminds me that while we are all looking for something new and dynamic we have to be open to what God calls us to do. Just because I picture something a certain way does not mean that God can not and will not turn everything upside down and reveal a new thought or approach.

Art and the Stages of Life

To explain the Stages of Life I feel it is essential to look at works completed by a certain artist through his or her life. In this way we can get a better sense of what Art and the Stages of Life means, but at the same time it requires a broad spectrum from which to pull information. Artists reflect the society and time in which they live and it is more productive to focus on a certain artist while looking at their personal “art history”. Through this approach I hope to bring a certain level of clarity not attainable through viewing various artists who have experienced a wide range of life moments. I will be using the works of Pablo Picasso from the years 1901 to 1965 to convey the different stages.

Conception


Le Gourmet, 1901, Pablo Picasso

The androgynous child innocently mixes ingredients in an attempt to make something that will emulate what he or she views as “adult”. Often, young couples have children because that is what is expected. They produce offspring in innocence and grow with the child instead of preparing a place for the child. No one can really “be ready” for parenthood – it is a hands-on learning experience. Conceiving, reproducing, bringing another into the world is such a simple and complex act. The colors of the piece speak to the somber reality and tone of conception – of starting life, or, indirectly making something that will some day perish.
I selected this work because we as humans are constantly attempting to create something that is “adult”, but in this perspective “adult” and “god-like” are interchangeable. In the 15th chapter of Ezekiel God commands Ezekiel to give a message to the Israelites concerning their idolatry. God’s chosen people had been making gods out of wood and stone, but these gods were worthless when compared to the gifts of life Yahweh had bestowed upon the people. When I view this piece my thoughts go to how I try and make something “adult” or “god-like” on a fairly regular basis. I am given hope by the image of this child and the innocence portrayed. I have been given an unending torrent of grace and peace by my Father in heaven and he views me with the same love an earthly father or mother would look at this child trying to make some concoction.
The difference is that when I do not strike out alone to create something and instead ask God to make it through me – together. Allowing His guiding hand to act and listening intently on His instruction is immeasurably better than doing things “my way”.

Birth


Mere et fils sa le rivage, 1902, Pablo Picasso

This piece, with mother and child, represents the birth and the giving of life to another. This child, while dependent on others for sustenance and habitat – and in spite of his vulnerability – is a wholly new creature. Different from mother and father he is an individual. The physical connection to the mother while in the womb has been severed and what happens to the child and how he develops is in many ways unpredictable.
Just as the mother lifts the child up by the riverbank so God lifts us up in our new creation. He is there for us, but we have the freewill to develop into whatever we choose. His greatest gift to us is choice. Many of us have an internal struggle when deciding, but when we make the decision to follow God and to be faithful to His will avenues of expression and a life we would have otherwise not known are open for His glory.

Partnerships


Groupe de personnes pauvres, 1903, Pablo Picasso

This simple sketch/painting is a wonderful example of partnerships and family because the lines used in the composition are uniform in color and intermingle with each other. This family is one entity instead of four individuals. The use of black and being painted on a blank board symbolize the autonomy of the family unit and the connections lying therein. Instead of this being a man, woman, baby, and child it is a single composition and each individual relies on the existence and placement of the next. A single mass in the center of the board, in the most formal sense, is also four individuals.
Humans are not built to be solitary. Instead, we are to be social and connected with others in society. This idea is one of the greatest and messiest when it comes to human relations. We should have people with whom we share connection, but because of our inherent selfishness and a desire to be higher ranked than others we tend to alienate those who get too close in an effort to control. The four forms on level ground represent a healthy and beneficial family unit, but it can also be expanded to express what healthy “give and take” relationships can look like in our own lives even if we do not have a traditional family. Through genuine friendships, those that do not exist to simply make a gain, we can have a family that reflects what is seen in this portrait - one of interdependence and connectivity.

Leaving Home

The following was the basis of selecting Picasso to express the Stages of Life. Having been a classically trained artist he created works that were equal to if not better than many artists of his day, but after a trip to the museum and viewing masks from Africa he began to work in Cubism. This style of painting is what set him apart from the herd and why he is one of the best-known artists of the 20th century. Forty years after his death he is still known for his innovative style and influence, and not just in art circles. A recent survey showed that Picasso is the most referenced artist among people who admittedly do not know art.
This collection of portraits in comparison to Picasso’s earlier works helps illustrate his departure (or arrival depending on perspective) and Leaving Home. Looking at the first three pieces we can see a difference in his self-portraits. Perhaps the second image was a “happy accident” as he was on his way to the cubism of his later works, but I am not a Picasso scholar and cannot say for certain this was the absolute first touch of Cubism in his portfolio, but something should be said about the portrait. It is easier to experiment with others or to find a new technique outside of the personal self. To see Picasso applying this style to something as personal as a self-portrait is encouraging. We can see from the self-portraits in the summer of 1906, that Picasso was experimenting with more angular representation.


Autoportrait, 1901, Pablo Picasso

This self-portrait from 1901 was at the dawning of what has since become known as Picasso’s Blue Period. Between the years of 1901 and 1905 he painted many pieces that relied heavily on the color blue. We can see here a more traditional approach to the self-portrait and his style in this painting was not uncommon among artists of the period. Many believe that Picasso was experiencing depression during this time. This idea could be supported by the blue undertones of the flesh in this painting, which is reminiscent of a corpse. Perhaps that is how Picasso viewed himself.

Autoportrait, Summer 1906, Pablo Picasso
By 1906 Picasso had left his Blue Period for more colorful, if not disturbing, works of art. In the year before this painting his works focused on oddly proportioned jesters and clowns.


Autoportrait 2, Summer 1906, Pablo Picasso
This second self portrait is a more complete work than the other, but is extremely different that the piece from 1901.


Deux femmes nues. Fall-Winter 1906, Pablo Picasso
In this portrait of two models we can parts of the female form taking a much more linear form than in Picasso’s earlier works. Not only in the face, like in his self portraits the previous summer, but also in the breasts of the women.


Tete de femme. Winter 1906-07, Pablo Picasso
This sketch from the winter of 1906-07 is reminiscent of Picasso’s representation of his own angular face in the self-portrait of the previous summer.


Autoportrait. Summer 1907, Pablo Picasso
Here we have the fourth of Picasso’s self portraits. It shows a full departure and is a fully actualized piece. The use of line and color are drastically different from his 1901 self-portrait and looks like it could have been done by an entirely different artist.


Les Demoiselles d'Avignon (étude). Spring 1907, Pablo Picasso
I have included this sketch of Les Demoiselles d’Avignon to represent Picasso holding on to his roots and understanding the principles and fundamentals of design. While he had been experimenting with a new painting style Picasso had not let go of his formal training. When working with students I have seen many of them attempt new and experimental approaches to creating, but often they do so without the foundations to support such drastic changes. Many times in our own lives we want to make big changes, but forget that we have arrived wherever we are because of where we have been. In a spiritual sense, we cannot go from sitting in the pew to being Martin Luther and bringing about the Reformation. There is a process in life just as there is in what can be seen in Picasso’s work where the past must be acknowledged and drawn upon when forging new paths and exploring new territory.


Les Demoiselles d'Avignon. 1907, Pablo Picasso

Les Demoiselles d'Avignon is often pointed to as the beginning of what would eventually be known as Cubism. Picasso had locked himself away in his studio and worked on this piece without allowing anyone to see, but when he had completed the work and allowed a viewing he was met with much opposition. One of the biggest opponents was George Braque, but in the next few years these two artists would incite the Cubist movement and be two of its best known artists (Bernadac and de Bouchet, pg. 46-52).
This piece was not well received by many in the art community, but Picasso had a vision and followed what he saw a need to create. The art world was not ready for this style of art, but it soon would be and it would fuel a career that would make Picasso one of the most influencial artists of the 20th century. This painting, coupled with the history behind it, is an inspiration to those seeking spiritual enlightenment. It is easy to stay the course and to avoid deveating by the path so many follow in life, but when we let go and allow the Master to work through us there can be great rewards. This idea is stated while keeping in mind the prophets of the Old Testament who were rejected by their contemporaries and chased out of cities. Isaiah spoke God’s word, but the nobility rejected the truth he delivered and we must be ready to accept and deal with this rejection while walking with Christ.
Luke 6:22
Blessed are you when men hate you,
when they exclude you and insult you
and reject your name as evil, because of the Son of Man.
Picasso’s rejection by his contemporaries mirrors that which comes from those who oppose following the will of God. When we seek the kingdom of God it is not always palatable to those outside of the vision He has given us, but in time those who are open will come around. One of the harshest responses was from Braque who would later become one of Picasso’s closest friends and colleagues in the Cubist movement. The church of today is full of people more than content to rest comfortably in complacency possessing strong convictions concerning how Christians should interact with nonbelievers. Many times when a new approach is given it is met with passionate resistance. It is a curious thing that more people would be reached with the Gospel if opponents to new ways of spreading the Word would give supportive energy instead of oppositional. In this way we must look to our foundation of Christ and build accordingly – just as Picasso looked at his foundations in traditional art and branched out from there. By remembering where we came from and seeking God’s new vision we can successfully “Leave Home”.


La danse au voiles (Nu à la draperie), summer – fall 1907, Pablo Picasso
By the end of the summer and the beginning of the fall in 1907, Picasso created this work, which was dynamically different than anything he had done the previous year. Going through these different works helps illustrate that “Leaving Home” is not abrupt, but instead involves preparation and experimentation. If Picasso had simply jumped from his blue period into La Danse Au Voiles would he have really known why he was changing his painting style? Would he be one of the most influential artists of the 20th century or would he have just been a guy who made weird paintings?
By going through his works from 1906-1907 we can see the process of discovery and maybe a little insight into the struggle Picasso was feeling from traditional art to this more experimental and philosophical approach. Viewing these images gives a sense that he knew where he was and where he wanted to go. In the works of that year we get a sense of the process he took in developing this new style of painting. In the spiritual sense it conveys a message of dedication and perseverance. If Picasso had not been experimenting with this new style perhaps he would have simply been known as the artist who painted with a lot of blue.

Goodbye Summer

In The Spirituality of Art, Jim Kalnin uses Picasso’s Guernica in his section on Art and Conscience as a response to tragedy. It is Picasso’s representation of the bombing of the Spanish town of the same name. Kalnin says, “Picasso felt the horror personally and turned to the best means available to him to communicate his anguish” (Huey-Heck and Kalnin, pg. 86). This image is appropriately referenced in the book, but it can also be used to represent what Louis Huey-Heck talks about in the same book as Saying Goodbye to Summer. This piece by Picasso shows an understanding of life outside the studio. He painted it when he was fifty-six years old. Turning fifty was also mentioned in The Spirituality of Art and in a sense can be combined with Saying Goodbye to Summer. As the seasons change and life begins to slow so does summer end and the fall and winter months approach. If we view the seasons of the Earth as a representation of our lives it makes sense that the mid-fifties would be the end of summer. Soon, old age will creep and we are, hopefully, wiser through the experiences of the past.
Perhaps Guernica was a realization of Picasso’s that war is futile because no one wins. Of course, a civil war in one’s country of origin has to have many complex meanings with family members pitted against one another, but I see the meaning behind this piece as saying something to the affect of, “We can try and manipulate, control, and direct others in following the path we see as right, but good does not grow from evil acts.” I imagine Picasso coming to this realization while reading newspaper accounts of the war, and the bombing, so far away and up close at the same time. How productive was the bombing of this small village in the grand scheme of things? Was it worth the innocent lives of women and children?


GUERNICA, 1937, Pablo Picasso


La suppliante, December 1937, Pablo Picasso
Almost six months after completing Guernica Picasso’s work was still trying to work out his feelings concerning the Spanish Civil War. La suppliante consists of an elderly woman with her breast exposed crying out to the heavens. She is dreased in black funeral attire and her face shows grief, anguish, and mourning. This piece is most likely in response to the war in Spain, but the posture and exposed breast also have something to say about the ending of summer.
This elderly woman could be mourning her youth. A time when she was more active and the days were longer. Instead of having her whole life ahead of her she is faced with mortality on a daily basis. Each day could be her last. The message conveyed by the exposed breast pointing downward is that her youth is gone. The summer of her life is complete and now it is time to grow old and to eventually die. This woman could be compared to the nationalist ideas of the youth in Spain during the war. The young view life as if they are immortal and ignore the pleas of the elderly who have experienced much of what the younger population must face. With age comes wisdom, but the youth tend to be blissfully ignorant. They ignore the cries of their elders and fail to realize the importance of an aged perspective.

Endings


Homme assis (Autoportrait), April 1965, Pablo Picasso

Pablo Picasso passed away in April of 1973. This self-portrait was painted eight years before his life ended. This painting, when compared to the one cited earlier from 1901, shows a life well lived and a very different perspective on self. The cold and ridged lines and tones from the 1901 piece show Picasso in a stoic stance at the age of twenty. The painting from 1965 shows a man who has become comfortable in his own skin and who has enjoyed life. Both paintings use the color blue, but instead of resembling a corpse at the age of eighty-three (like he saw himself at twenty) Picasso appears full of life. The playfulness of this piece when compared to the earlier work seems to say, “Don’t take life so seriously.”