Whoops. Time to remedy that.
A bit of background for the Christa Project before I go in to further details about it and the cathedral.
Holy Week of 1984, the Cathedral of St. John the Divine put on display a bronze crucifix designed and made by artist Edwina Sandys. The crucifix was what I would call a medium large (4x5, 250 pounds apparently) size for an Altar placement, and it looks much like any other crucifix. Cross with human figure. Human figure portraying suffering, mortality, and the promise of hope (depending on your own interpretation of the piece, I suppose) in a stylized and artistic method. All round a very good piece of art. The main difference?
The human figure on the cross is female.
Now, Ms Sandys first showed it in London 1975 so by the time we hit 1984 it had already been finished and displayed for a number of years, but if I were to hazard a guess it may have been the first time it was displayed in a church. I don't know that as a fact though (Google has been singularly unhelpful). Either way, it got mostly positive reviews when it hit New York, but the ones who didn't like it were very, very vocal (doesn't that sound familiar?) and it ended up being taken down. Church leaders being some of the loudest. In fact, if I remember correctly the Bishop of New York ordered it be taken down. Fast forward a little over thirty years to October 2016 and Christa is going back on display at the cathedral as the centrepiece of the Christa Project: Manifesting Divine Bodies which, as I discovered about a month before I arrived in New York, was set to close about three days after I arrived (also, thirty odd years is apparently enough time for people to stop screaming quite so loudly about being "shocked and outraged" that there's such a thing as art depicting the Divine Feminine. Maybe).
Considering the fact that I was in New York to attend a great big discussion about gender equality (among other things) and I myself am a feminist who also happens to be an Anglican, I thought it would be a huge shame if I missed this particular exhibition. Also, I like old churches and art is always cool. So the first day I woke up in New York I pulled up Google maps and headed for St. John the Divine.
Now a bit about the cathedral itself.
The Cathedral of St. John the Divine Is one of two possibilities for largest Anglican/Episcopalian place of worship in the world (it's apparently a toss up between it and Liverpool cathedral) and it's the fourth largest place of Christian worship in the world.
So pretty damn big.
It was first designed in 1888, construction began in 1892, and it's still unfinished, which has led to the nickname of St. John the Unfinished (according to Wikipedia, anyway. Check out the page here. It's an interesting read from a historical perspective as well as architectural). It's a Gothic Revival style, and it's a funky and beautiful building. Literally.
The inside is absolutely fascinating. There's the Poet's Corner which from the perspective of this particular reader, writer, and amateur historian is AWESOME to see. There's the pipe organ, which I like because y'know, that's my paying job, and it's biiiig! There's the AIDS memorial, with at least three big ledgers with the names of people who died due to AIDS. There's the firefighters memorial. There's the absolutely adorable (and weirdly creepy) little spherical, cartoonish figures doing various things (like fishing, or holding a giant $ sign) that climb their way up ledges built into the pillars on either side of the crossing between the Nave and the Choir (and for the life of me I cannot remember who the artist is...). There's the chapels of the Tongues, seven chapels that go in a fan around and behind the Altar that I (having finally sat down and actually read the foldout I got there) discovered represent seven groups of immigrants that arrived on Ellis Island during the late 19th century. St. Ansgar for Denmark, St. Boniface for Germany, St. Columba for Ireland and Scotland, St. Saviour for Africa and Asia, St. Martin of Tours for France (I went to noon mass in this chapel), St. Ambrose for Italy, and St. James for Spain, which I find interesting. Probably one of my favourites though was the carvings about chest height on either side of the High altar. One side has prominent figures from church history, the other side from 19th-20th century history, with an American slant. Those figures include Abraham Lincoln, Dr. Martin Luther King Jr, and Ghandi among others. Oh, and Albert Einstein.
Then, of course, you've got things like the Barberini tapestries, centuries old icons and prayer books, and a few other pieces that are gifts from foreign dignitaries. Plus the fact that the Choir stalls are on loan from the Metropolitan Museum of art. Also, the Baptistry is gorgeous. I could probably go on at great length about how cool the architecture is, and the pieces they have on display or in some of the other buildings on the grounds, but realistically I'm never going to do it justice. Some of these things you have to go see for yourself, and believe me it's worth it.
And I haven't even mentioned the outside. Leaving aside the giant sculpture which, if you look closely, has the severed head of Satan hanging from a crab claw (it still makes me giggle), the outside is pretty darned impressive, and the signs for "keep off the lawn!" are hilarious.
So. That's the building. Now for the art exhibit (or more about it as the case may be).
There was a lot of powerful pieces. I'm going to stick mainly to the ones that hit me hardest, but I want to at least mention some of the others.
Nona Faustine's White Shoes photo series (don't click the link if you have an issue with naked bodies) they are photos taken, often of herself, in historical locations of the slave trade in the States.
Ted Meyer's Scarred For Life where the photographer turns takes a person's view of a scar and turns it into art and a story. It was really beautiful.
Eiko Otake and William Johnston's A Body in Fukushima which, holy cow, was powerful.
Three Jackie Fawn pieces I've seen make the rounds on social media, and are still awesome. Justice for All, Safety for my Sisters, and Protect Mauna Kea.
There were more, but other than the last two I'm going to talk about, these are the ones I remember best and keep going back to.
Now the last two. Aaah, the last two!
The Nave is a long, open space.
The building is huge so the space is huge. And right in the middle, (as you can see) is the tiny circle of easels. The picture doesn't really do justice to the almost humbling feeling you get being there, especially when you get closer and actually see the pictures displayed. The other thing about that particular location is that it's a combination of electrical and natural light, which gives it a whole other layer of beauty and (I think) significance.
The exhibit was Queer Icons by Gabriel Garcia Roman. Roman grew up Catholic, and using inspiration from Flemish, Orthodox, and Renaissance portraits and iconography styles he's created a truly stunning series of icons of Queer activists of colour. Some of them have stylistic themes in the background, some have poems written by the one in the icon. All have halos. It is very beautiful and extremely powerful.
The last one. I think this one is the one that's going to stay with me in a way the rest might not, or differently than the rest anyway. It has so much to say about our past, our present, and likely our future, though I pray not.
It's called Five Wounds by Bettina WitteVeen, a German artist. It's made up of five crosses, each of which holds six pictures which include a portrait of the woman the crucifix is for and a picture of their grave, their murder site, or where their body was found.
The five women are Petra Kelly,
Anna Mae Aquash,
Sophie Scholl,
Rosa Luxemburg,
and Viola Liuzzo.
It was... Hard to describe. Very hard. It's not quite shivers down the spine, but it's heavy. And it's a deep, not-quite-sinking feeling in the gut.
It's thinking about the world as it was in history and realizing exactly how much hasn't changed when it damn well should have, God damn it!
It's looking at the pictures and thinking that there are women in the world who this is likely to happen to, heck who it probably is happening to right now and that's so wrong, and why are these things still happening?!! Why?! And sometimes you feel like you're screaming it into the void, but you keep doing it. It needs to be asked.
It's feeling that deep well of sorrow open up, and you kind of fall back into it, and sometimes you let yourself cry, and sometimes you try to stomp it down, and sometimes you let the anger rise too and the sorrow and the anger blend.
And you look at the pictures, the crucifixes, and you think about how there's still so much work that has to be done to try and keep these things from happening again. How every time it seems like the world (or your part of the world at least) takes a step forward something happens and it's like you moved back again, or part way back and all you can think is "Wow, people are dumb", and "I don't understand how they can think like that. It doesn't make sense to me."
And you look at them again. You look at them, and you study them, and you try to stick them in your brain so you remember and then you turn away. You go out, back into the rest of your day, the rest of your week, you leave that place and that feeling behind (but not forgotten. Never, ever, forgotten). And it's always strange, coming away from an experience like that. Very strange. But you take it away to process, and ponder.
And I, at least, carry it with me and think, this has to change. It needs to change.
And I am damn well going to be there when it does.