Rose’s Turn: The Power of Painting with Pink

Ah, the time-honored summer art exhibition: when art galleries and dealers in big cities try to keep themselves from falling asleep out of boredom, waiting for customers to drop by.  The reader may not be aware, but from a business perspective, the selling of art is often as seasonal as is the selling of other commodities, from bikinis to snowplows. Just as art dealers in vacation areas tend to languish during the period between the end and the start of their area’s high season, so too galleries in urban areas often suffer from the doldrums during the summer vacations of their regular clientele.

To counteract this, a summer exhibition is a great way to generate some interest in what might otherwise be a period of lethargy.  The Royal Academy in London, for example, started hosting its annual Summer Exhibition way back in 1769, which over the centuries has proven to be a hugely profitable venture not only for the Royal Academy, but for the artists exhibited there and the galleries nearby.  The Academy gets a percentage of the proceeds of any of the works sold at the show, and the London art dealers rather than packing up and fleeing to the Rivera in search of their clients, will typically host their own, brief shows around the same time, so that potential collectors can drop by and see their works, as well.

Such is the case, I imagine, with the brief run of “Everything’s Rosy” at Susan Calloway Fine Arts in Georgetown, which opened this past Friday.  The exhibition features a selection of works by a number of artists, all working in very different styles and with no thematic program, yet all are connected by their use of the color rose – or pink, depending on how you look at it, which of course for my Catholic readers brings back the old canard about the color of the priestly vestments for Gaudete and Laetare Sunday.  Appropriately enough, the opening reception for the show was accompanied by cocktails made with strawberries, rose sparkling wine, and Saint Germain.  My charming companion and I noted the refreshing recipe for future use, as we looked at the many types of painting on display, and chatted with one of the (always very gracious) gallery staff.

Pink is a color which today we often associate with the feminine – blue for boys, pink for girls – even though for centuries, that formula was reversed.  In an article about child-rearing in the venerable “Ladies’ Home Journal” published in June 1918, we read that when choosing a color for a baby’s clothing, outside of easy-to-bleach white, “the generally accepted rule is pink for the boy and blue for the girl. The reason is that pink being a more decided and stronger color is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl.”  One may also note that in traditional Catholic images of the Madonna and Child, the Virgin Mary is almost always depicted wearing blue, and there are many examples of the Christ Child wearing pink.

It is the boldness of pink as a color, much like the use of red, which tends to attract the eye; such a powerful shade can often completely dominate an image, unless the artist is careful.  What is appealing about the Susan Calloway show is how the selection of works speaks to a variety of tastes, but nothing hits you over the head with “PINK”, like walking into a child’s bedroom.  Yes, there are a few very charming, dare one say “pretty” images, but there are also some bold, textural pieces as well, which use pink in different ways.

Take for example an arresting painting by David Ivan Clark titled “Untitled (Still #69)”, a very horizontal work which features a gradation of color from pale gray to puce to black.  There is nothing “Hello Kitty” about this picture, and despite its substantial horizontality, it is a decidedly masculine-feeling piece.  Another work in the show, “Departures” by Janet Fry Rogers, features gleaming squares of silver leaf atop an underpainting of a deep, hot pink, reminding the viewer of the techniques employed in Medieval and Early Renaissance panel painting.  If, like this scrivener, you have certain magpie tendencies, you cannot help but be enthralled by the piece, so arresting is the juxtaposition of the bright undertone with the burnished, gleaming surface.

Arguably the star of the show is “Magnolia Swimwater” by Allison Hall Copley, a very large work on canvas which greets you as you enter the gallery.  Interestingly enough, the piece is framed, rather than stretched, leaving the unfinished edges of the piece exposed to look almost like rag paper.  The composition is a huge swirl of colors, a shower of bright pinks, oranges and blues against the plain white canvas.  Copley gives a wonderful sense of movement and flight to the painting, like a host of flower petals being caught up in a whirlwind and falling to earth again.

Although these three highlighted works are examples of different types of abstraction, those with an aversion to the non-representational need not fear. “Everything’s Rosy” additional features a number of charming, representational pieces, from artists such as the extremely talented landscape artist Ed Cooper, among others.  This is truly one of those bright and cheerful shows which has something for everyone, not only asking the visitor to consider pink in different ways, but also proving to be quite refreshing during yet another oppressively Washingtonian July.

“Everything’s Rosy” at Susan Calloway Fine Arts in Georgetown runs from July 11th to July 22nd.

The wonderfully-textured "Departures" by Janet Fry Rogers,  looking great against the textured white brick walls at Susan Calloway Fine Arts in Georgetown

The wonderfully textured “Departures” by Janet Fry Rogers,
looking great against the textured white brick walls at Susan Calloway Fine Arts in Georgetown

 

Lessons from the Farmyard: Are You a Pig?

Having grown up in a small town in the countryside, not on a farm myself but surrounded by them, I was fortunate enough to have a sense not only of where our food comes from, but of what it takes to go from barn to supermarket to dinner table.  I can spot the difference between soybeans, alfalfa, and corn beginning to emerge from the ground.  I know that some of the animals I might see standing about in the pasture today, will not be there in a few months’ time.  I can also discern the difference – at a distance – between the odors of cow, pig, and sheep manure fertilizer.

And because I know it when I smell it, I think it’s time for us to take a step back, and take a big whiff of what society is telling us about the Church: because quite frankly, it’s a load of…droppings.

Christianity is increasingly presented as an obstacle to personal fulfillment, however one chooses to define that term this week.  Many Catholics around the country seem to be agreeing with that assessment, if you saw the recent map showing the distribution of the major religions of the United States.  Although Catholics are now the largest religious group in this country, many of the states where Catholics are the majority have Mass attendance levels which barely keep the parishes open, causing one to wonder what exactly these Catholics actually believe.

What is the root cause of this blight?  The fault, we are often told, lies in the rigid history of the Church, the negative aspects of which are repeated over and over again by uneducated entertainers, bitter academics, and the chat show hosts who fawn over them both.  The alternative, or rather the only acceptable option now available to us, is a Christianity that conforms, rather than divides.  We are all to be pigs together, not sheep and goats.

Under this scenario, one can snarf up from the communal trough whatever one likes, provided that no one else is offended by it.  If only we agree to eat the same garbage that everyone else is eating, we are told, we would be much happier, and the world would be a better place.  We would have things like fatter wallets, bigger muscles, and newer gadgets, making us into prize specimens, little gods of the domestic barnyard.  And as we roll long our merry way, contentedly stuffing ourselves until we glisten in the summer sunshine, we forget what ultimately happens to farm animals.

If the line of reasoning presently being foisted upon us by the media and commentariat seems vaguely familiar to you, it’s because it’s been tried before – and worked.  For this is a shadow that has dogged our steps since the days of our first parents in Eden, despite those who try to dismiss their story as little more than a fairy tale.  “If only” you do this, we’re told, as they were, you’ll be gods.  The delivery may be different, since we don’t see many talking snakes these days, but if the formula works, why change it?  Call it individualism, or self-actualization, or what you will, but the idea that abandoning the cross in order to embrace material things will keep us from suffering and death is the real fairy tale.

In fact, the only difference between Eden and today, is that the Tempter’s message has gone mainstream.  Now it comes from people like self-help gurus, investment professionals, motivational speakers, and even supposed “Christian” evangelists.  They come onto our televisions and into our inboxes, telling us how we can avoid the fate of all human beings for only 3 easy payments of $19,95.  It comes from magazines and films that demand we pursue our own pleasure, whatever it might be, because it “feels” right, never having to consider why something as transient as a mere feeling is rarely going to serve us well.  And in the end, those who promise us that they can turn us into prize pigs end up losing everything themselves, sooner or later.

It isn’t easy to resist the urge to join in the feeding frenzy at the trough, particularly when you’re constantly being told that you need to accept the garbage you’re being fed in order for your life to be a success.  However, we will not cheat suffering, or keep death from the gate, by turning ourselves into creatures driven by our appetites.  Our eyes need to be fixed on our church steeples, not on the various screens filled with garbage that, like pig troughs, so often remain the intent focus of the human gaze.

Let’s make a point this summer, just as the crops themselves are growing in anticipation of the harvest this autumn, to try in grow in the courage and steadfastness which will remind us that we follow a Good Shepherd, not a Cool Swineherd.

Detail of "The Church at Mont-roig del Camp" by joan Miró (1919) Private Collection, Spain

Detail of “The Church at Mont-roig del Camp” by joan Miró (1919)
Private Collection, Spain

 

Barbecue and the Blessed Sacrament

If you’re a fellow Washington-area Catholic, then I’ve got two upcoming opportunities for you to help make this Summer a time for growth, rather than just waiting for the air conditioning to kick on.

With Pentecost Sunday this weekend, and the return to Ordinary Time to follow, we’re about to begin the “summer doldrums” period of the liturgical year.  Apart from Corpus Christi – which, sadly, is generally not celebrated in this country with as much fanfare as elsewhere – and the Feast of the Assumption in mid-August, there are no real high points on the Church calendar again until the Autumn.  Oftentimes parishes see attendance and participation drop as the temperature climbs.  It’s almost as if the return to green vestments gives the laity a desire to do little more than sit back and watch the grass grow.

That’s why Adoration of the Blessed Sacrament can be a terrific way to keep from falling into spiritual laziness this Summer.  For those of you living and working in D.C., every Wednesday from 5:30 to 6:30 pm you can attend Adoration, followed by Benediction, at Epiphany Parish in Georgetown.  This beautiful old church is one of the smallest parishes in the Archdiocese, tucked away close to Rock Creek and a short walk from the Four Seasons, but many Washingtonians have no idea it is even there.  Father Adam Park, the pastor, is an energetic, dynamic young priest, who not only does a beautiful job with Adoration, but is also a great preacher and confessor.

Epiphany is not my parish, but I try to get there for Adoration whenever I can, even if I can’t stay for the whole hour.  Being able to pause at midweek, and engage in prayer or spiritual reading before the Blessed Sacrament, helps me to reflect on drawing closer to God and seeking to do better by Him.  It also, quite frankly, makes me shut up and be quiet, something I often find difficult to do.

If you’re not already familiar with Father Park or Epiphany, then there’s a great opportunity for you this weekend.   On Sunday the parish will be holding its annual “Light The Fire” barbecue for Pentecost, beginning after the 10:30 am Mass.  The event will give you the chance to meet Father Park, the diverse members of the parish community at Epiphany, and will feature both American AND Korean barbecue dishes.  If you appreciate the meat-and-flame combo as I do, then you know how very, very good this juxtaposition of grilling traditions is going to be.

I hope my readers who are able will not only take advantage of these opportunities right here in the city, but also share this information with others whom they think might be interested.  And of course, for those of you at greater distances who may not be able to attend these events, why not talk to your own pastor or a priest friend where you live, about having midweek Adoration at your parish during the Summer? Even though the Church steps back into Ordinary Time, the schools go on vacation, and there is much loafing about, you can make these lazy, hazy days something more spiritually significant, if you’re willing to give it a try.

Epiphany Parish in Georgetown (1926)

Epiphany Parish in Georgetown (Built 1924-1926)