I am a Christian. I am also an artist and creative, and what I do is driven by my faith experience. — Makoto Fujimura said in a 2007 article by Associated Press reporter Eric Gorski

One might argue that the origin of art is religion and that the two have been interconnected throughout history. We certainly have a fair share of religious art. So why is it that today art has become a secular topic? It seems strange in my opinion that someone’s career in art doesn’t merit a discussion of beliefs or nonbeliefs or their inspiration or guiding force. In a time where people in film and music, and even sports and politics openly discuss faith, why do the visual arts shy away from sensitive questions and stick to the “creative process”? Perhaps it’s because it makes us uncomfortable?

Whether or not one believes in God, whether we describe ourselves as theists, atheists or even anti-theists, we all live in a world that is profoundly influenced by concepts of god. — 100 Artists See God exhibition introduction

The 2004-06 traveling exhibition 100 Artists See God, organized by Independent Curators International in New York, involved inviting 100 artists “to picture the divine.” According to the project description, the collaboration brings the topic of faith “to the forefront of artistic debate and acknowledges the prevalence of religion and spirituality in contemporary art, culture and politics both within and outside of the United States.” What emerged from the exhibition was a wide range of religious imagery, from traditional depiction and analytical assessment to humorous and completely unconventional interpretations of god. For example, artist Damien Hirst created shelves of drugs to represent “god.” Another work by Paul McCarthy shows two men out in the woods peering under dried up brush with a stick. Mirror #8, a 1972 work by Roy Lichtenstein, was also part of the exhibition. (Click here to see works from 100 Artists See God.)

Closer to home, a 2007 exhibition at the Indianapolis Museum of Art called María Magdelena Campos-Pons: Everything is Separated by Water, touched on the influence of Santería faith in the artist’s life and its depiction in her work. While that show, which explored a non-mainstream faith as one aspect to an artist’s work, was well received, another smaller local gallery show that based an exhibition around the exploration of artists’ views on faith and spirituality was not as successful, particularly with church communities. (The gallery asked to remain anonymous.)

Should we encourage a dialogue on faith, whether or not we have one? 100 Artists See God is a intriguing example of how it can be done. Is Indianapolis ready for this conversation? And likewise, is the religious community ready to take the arts seriously?

*Filming in Paris and Rome for Roman Art from the Louvre webisodes.
*Interviewing video artist Sam Easterson for the exhibition Nature Holds My Camera.
*The backyard barbeque on the lawn of the IMA for the opening of Emily Kennerk: Suburban Nation.
*The launch of the IMA’s new Web site.

As anyone who knows me will tell you, I’m not one for picking absolute favorites. However, this year, it’s an easy decision. Far and away, my favorite memory of 2007 was the opening weekend of the exhibition Maria Magdalena Campos-Pons: Everything is Separated By Water. I can’t remember a happier time at work.

Maria Magdalena Campos-Pons and I on opening night.

Here’s a recap:

Friday, February 23, 2007

A.M.
I got a phone call a few minutes after getting into my office. It was the Curator of Contemporary Art, Lisa Freiman, asking if I wanted a sneak peek of the show. I immediately ran upstairs to the exhibition and was greeted by both Lisa and the artist, Magda. After working for more than 4 months on the marketing for the exhibition, it was such a joy to finally see it installed. The sneak peek was a treat made even sweeter due to the fact that I got to share it with Magda. Lisa was very proud and giddy and Magda was joyous, but also obviously anxious about the opening gala that would take place that evening. My first impression of the show – I felt like I had stepped into the artist’s mind. It was emotionally stirring to be able to see the visual expression of another person’s passion. The exhibition was remarkable. I was overwhelmed by the experience and the joy spilled out into the rest of the workday. Friday flew by as I helped set up for the evening’s gala.

P.M.
I can’t explain it, but I felt like I was floating that entire night. Maybe it was the exhaustion of working so hard to get the show ready. Maybe it was the remains of the joy that I still felt from that morning, but everything during that time feels like it was a dream. Dinner was exceptional though I can’t tell you what we ate. Just after dessert, Magda gave a beautiful and heartfelt speech. Then, the crowd was released upstairs to preview the exhibition and join the afterparty.

With over 500 guests, several bars and a large band, Pulliam Great Hall was packed. For me, the most exciting part of the afterparty was the diversity of the guests. Guests from 27 to 77 filled the dance floor dancing to the beats of the Spam Allstars. Never before had I attended an event at the IMA that had such a young, hip vibe. It was incredibly fun and fulfilling to see so many people enjoying the night and the exhibition.

Saturday, February 24, 2007

On Saturday afternoon, Magda gave a performance piece in the same space that had held the revelers the night before. Regalos was a special work that the artist had created as a gesture of appreciation for the support she had received while working on the exhibition. Wearing a long dress that had dozens of tiny bags tied to it, Magda invited visitors to untie the bags. To the delight of the audience, each bag contained a gift of a tiny handmade piece by the artist. The performance was extremely dramatic and filled with Magda’s gratitude, affection and sacrifice.

After the performance, the IMA’s Contemporary Art Society held a reception for Magda. I attended with my copy of the exhibition catalogue tucked under my arm. It was my last chance to see Magda before she left, and I desperately wanted her to sign my book. I waited in line as her family, friends and fans congratulated her. Finally, I had my chance. As I handed the book to her, I gushed about how much I loved working on the exhibition and how honored I was to have worked with her. She smiled warmly at me as she scribbled into the cover. I hugged her as she handed the catalogue back to me, and then left her to greet the next person in line. As I walked away, I cracked the book open and saw what she had been “scribbling.” It was a drawing of water spraying up into the air with a note written under it, “Meg- You are a fountain. With Love and Gratitude, Magda”. The drawing and the words meant so much to me. She couldn’t have given me a more thoughtful gift. It was a perfect end to one of the most remarkable weeks of my life.

So do you have any favorite memories of the IMA from 2007? Share your favorite IMA moment of 2007 by responding to my story with one of your own.