Previous Exhibitions
I Am:
discerning Christ’s identity through
proclamation, parable, and example
September 18 - November 20, 2011
The Good Samaritan, by Sadao Watanabe,
hand-colored woodblock print, Japan, 1979
How do we individually attribute an identity to God? How do we enter into a personal relationship with Jesus Christ when we are separated by nearly 2000 years? Diverse artistic representations of Jesus place him visually into a human context, which can stimulate our imaginations and spark in us a personal response. Ethnic and cultural influences on art allow us to each see Jesus in our own image.
This exhibition features art which reveals the identity of Christ through proclamation, parable, and example.
I am the Vine, by Kirsten Malcolm Berry, watercolor, 2004.
I am the vine, you are the branches. Those who abide in me and I in them bear much fruit. - John 15:5
The Woman at the Well, Mola, Cuna Indians, San Blas Islands, 1990s
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I am the bread of life and the cup of salvation
I am the resurrection and the life
I am the gate
I am the good shepherd
I am the lamb of God
I am the light of the world
I am the giver and sustainer of life
Who do YOU say that I AM?
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Loaves and Fishes, by Thomas Fenton
copper plate engraving, 1693
Jesus Healing the Two Demonics, by Otto Dix
lithograph, Germany, 1960
Rolling the Stone, by Joan Bohlig, etching
Kneeler Cushion, designed by Inez Crummins
made by Westminster women, wool needlepoint, ca. late 1970s
Won't You Be My Neighbor?
Sophie in the Park, by Heather Heefner Dart, oil on wood, 2010
This exhibition features art created by Westminster members and friends that might reflect Mr. Roger’s neighborhood. Those of us of a certain age grew up watching Mr. Rogers on television and can readily visualize him putting on his sweater and can hear him singing his trademark song asking “won’t you be my neighbor?” Did you know that Mr. Rogers was a Presbyterian minister and that he appears on page 127 of our history book, Living Faith?
Artists were challenged to think about the neighborhood around Westminster, around their own homes, and the places that they frequent. They were further asked to consider the text of Luke 10:25-37 where Jesus answers the lawyer’s question: “who is my neighbor?”
Together We Live In Harmony, by Tori Carter, acrylic on canvas, 2011
Our Neighborhood, by Martha Maguire, photographs, 2011
Lost Innocence: And the Children Went Out to Play,
by Elizabeth Winga, collage with mixed media, 1998
Midday Break, by John Heefner, acrylic on canvas, 2000
Birch Dream, by Chris Nelson, stencil print, 2006
Chris Nelson is a Minneapolis artist and was invited as a guest artist to join with other friends and members of Westminster in articulating the concept of neighbor.
While he works in a variety of media (including knitting) he is currently exploring the techniques of printmaking and specifically the processes of cutting stencils and mixing ink, to capture his interpretations of the texture and color of tree bark.
Why Art Matters
Art matters because it provides a communication tool between an artist or designer and the diverse audience who encounters the art. This encounter may generate thought, stimulate conversation, or evoke emotion.
When we first wake up and become aware of light and shape around us, we see. This is a passive experience. We look when we focus our attention on specific objects, images, or details. Looking is active and engaging.
A beautiful piece of art is pleasing to the eye and soul. Sometimes sad and ugly stories need telling and they might be disturbing and uncomfortable. These scenarios share a common goal: to capture attention and to elicit a reaction. Sometimes thinking is more important than liking.
- Rodney Allen Schwartz
Looking at Faith
A view of the gallery
Different faith communities use their own language and terminology to articulate their corporate beliefs. Within Christianity there are a variety of creeds and statements of faith. Westminster Presbyterian Church incorporates a number of these creeds into worship throughout the year. Looking at Faith is an exhibition that matches original art with the text of the Affirmation of Faith from the Iona Abbey Worship Book. This affirmation is generally read and spoken; the exhibition transforms the text into a visual experience that coincides with the reflective time of Lent and Easter.
Christ Healing the Blind Man, by Robert Hodgell, linocut, ca. 60s
This print represents: And, in the name of Jesus Christ
Presbyterian worship is organized with the Word of God at its center. In worship, Presbyterians:
•gather together around the Word in prayer and music
•proclaim the Word by reading from the Bible and
engaging with a sermon
•respond to the Word through an affirmation of faith
•seal the Word through the sacraments of baptism and communion
•and bear the Word into the world as we go out into
community
(paraphrased from the Book of Order, chapter 3)
The Book of Confessions together with the Book of Order are the Constitution of the PC(USA). The Book of Confessions is made up of confessions, or affirmations of faith, that articulate what we believe. The Apostles’ Creed is perhaps the one that most of us can recite from memory and is frequently used by a number of Christian faith traditions. Worship at Westminster often incorporates elements from a variety of diverse traditions.
One of the affirmations of faith from the Iona Abbey Worship Book is the source for this year’s Lent exhibition in the Westminster Gallery. Each of the affirmation’s 23 lines is illuminated by an original piece of art from the Westminster Collection, providing the possibility of individual reflection on our faith in this season of contemplation.
Ex Nihilo (Out of Nothingness), (detail), by Frederick Hart, cast marble maquette, 2011
This sculpture represents: Whose love is the source of all life
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Affirmation of Faith
Iona Abbey Worship Book
We believe in God
Whose love is the source of all life
And the desire of our lives,
Whose love was given a human face
In Jesus of Nazareth,
Whose love was crucified by the evil
That waits to enslave us all
And whose love, defeating even death,
Is our glorious promise of freedom.
Therefore, though we are sometimes fearful
And full of doubt,
In God we trust;
And, in the name of Jesus Christ,
We commit ourselves, in the service of others,
To seek justice and to live in peace
To care for the earth
and to share the commonwealth
Of God’s goodness,
To live in the freedom of forgiveness
And the power of the Spirit of love,
And in the company of the faithful
so to be the church,
For the glory of God. Amen
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Anthrosphere, by Paul T. Granlund, cast bronze, 1987
This sculpture represents: To take care of the earth
Iona Abbey
The Iona Community is an ecumenical Christian community that is committed to seeking new ways of living the Gospel in today’s world. It was founded in 1938 by the Rev. George MacLeod.
Initially, its purpose was expressed through the rebuilding of the monastic quarters of the medieval abbey on Iona, an island off the west coast of Scotland. The center now hosts hundreds of visitors each year through an experience of the common life of worship, work, discussion, and relaxation.
The Iona Abbey Worship Book reflects the Iona Community’s commitment to the belief that worship is all that we are, and all that we do.
Pentecost, by Sadao Watanabe, stencil print, 1975
This print represents: So to be the church
Befriending Bethlehem
February 13 - March 6, 2011
The travelers on the Mount of Olives, Temple Mount in the background
In January 2011, 36 Westminster members and friends traveled to Palestine and Israel, and visited many historical and Biblical sites. The group stayed in Tel Aviv, Tiberius, Bethlehem, and Jerusalem, and dipped their feet into the Mediterranean Sea, the Sea of Galilee, the River Jordan, and the Dead Sea (the lowest place on earth).
This exhibition features new art and artifacts acquired for the Westminster Collection, and photographs of the experience.
Christmas Lutheran Church in Bethlehem
Future trips are planned so that more Westminster members may join this developing community of Christian brothers and sisters. Westminster will host a Palestinian Arts Festival in May 2012, in celebration of this partnership.
Westminster Presbyterian Church entered into a fourth global partnership in 2010 with Evangelical Lutheran Christmas Church in Bethlehem. The highlight and focus of this travel centered around engaging with the church members, the International Center of Bethlehem, and Dar al-Kalima College.
Face to Face, by Bashir Qonqar, acrylic on muslin, 2010
This painting was acquired for the Westminster Collection throught the gallery at Dar al-Kalima college and presents an opportunity for the viewer to ponder its meaning relative to the current political, economic, social and religious status of the middle east.
What might the image mean to you?
The Jordan River
The Garden of Gethsemane
The exhibition contains a variety of artifacts and a sampling of the several thousand photographs taken by the 36 travelers over the two week trip.
Download a pdf file of daily emails describing the travel experience
written by the Rev. Dr. Tim Hart-Andersen
Finding the Face of the Baby
Advent and Christmas 2010
Nativity, batik, India, 1970s
Were you there when Jesus was born in Bethlehem?
Was an official photographer sent from the palace to record his birth?
Did the young Christ child sit for a portrait?
If not, how do we know what Jesus looks like?
Stable Joy, by Mary Ann Osborne, hand-carved linden, cherry, and knotty pine
We must rely on the imagination of artists and the way in which they have depicted him over the centuries, to provide clues so that we may decide for ourselves.
The Nativity, by Mary Ross, hooked rug
This exhibition features many works new to the Westminster Gallery and represents a variety of artists’ renderings of the advent and birth of Jesus. Please spend time with the art in the Westminster Gallery and the many crèches throughout the building as you find your own version of the face of the baby.
Crèche, by Michelle Dubè, hand-painted ceramic
Montreal, Quebec, Canada
Creche (detail) from Swaziland, hand-carved and hand-stained jacaranda wood
The Art of John August Swanson
September 12 - November 21, 2010
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Artist's Reception and Talk
Friday October 8
Reception from 5 to 8pm
in The Westminster Gallery
Artist's Talk from 6 to 7pm
in The Meisel Room
Free and open to the public
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Like many artists, John August Swanson's themes and images evolve over time. This detail of a 1972 print is the predecessor to a later painting and poster that Swanson produced in 2009 to encourage people to unite and to work together.
What do Russian icons, Mexican folk art, and the text-laden images of 1960s popular culture created by Sister Corita Kent have in common? They are among the many cultural and artistic artifacts that inspire Los Angeles artist John August Swanson on his journey from war protester to creator of complex and delightful Christian images.
Unemployed Men, serigraph
Swanson was born in Los Angeles to a Swedish father and Mexican mother in 1938. His artistic style reflects both of those cultures, and is also influenced by the imagery of Islamic and medieval miniatures, Russian iconography, the color of Latin American folk art, and the tradition of Mexican muralists. The exhibition begins with an introduction illustrated with examples of some of these influences.
Another major impact on the style and content of John’s work was Sister Corita Kent
Sister of the Immaculate Heart of Mary. Sister Corita was famous for her vibrant serigraphs during the 1960s and 1970s and her art reflects her spirituality, her commitment to social justice, peace, and her delight in the world. Her art illustrates cries for peace during the Vietnam War and many other themes through popular culture.
Picket Sign, handmade collage, 2000s
John is a dedicated pacifist and anti-war protestor. He
has had a prominent presence on the Las Angeles
streets since the Vietnam War.
John paints in oil, watercolor, and acrylic, and makes prints using the serigraph, lithograph, and etching techniques. His earliest work includes picket signs against war. Social commentary and images of the working class in their everyday existence established his style. Often, his work is filled with symbolism in the form of panels set into or bordering the central image. Icon-like they provide the viewer multiple opportunities to discover the stories John has presented.
The Window, etching, part of the City Walk series, 1977
This series takes the viewer on a stroll with a solitary man
as he encounters the activity of the city from the edge.
Westminster member and Luther Seminary archivist, Paul Daniels, and his archival assistant, Kari Bostrom are co-curators with Westminster Gallery director Rodney Allen Schwartz on this exhibition. Luther Seminary holds the archive of Swanson’s work and papers, and is generously sharing these holdings with the Westminster Gallery.
The exhibition features early and current work, and significantly, works-in-progress that demonstrate technique. Sketches and a copper plate show the development of a print of Daniel. Two from the set of 47 drawings on mylar that were used to create the stencils for The Peaceable Kingdom show the complexity of alinging and printing 47 different colors of ink, and help to demonstrate why the resulting image is so vibrant and intense.
The Peaceable Kindgom (detail) serigraph, 1994
The text of Isaiah 11:6 describes a world where the wolf shall
live with the lamb... and a little child shall lead them (NRSV.)
John August Swanson's Website
June 13 - September 5, 2010
Corpus Without Cross
This corpus tells a sad and ugly story and may be disturbing and
uncomfortable. Looking and thinking may be more important than liking.
Art matters because it provides a communication tool between an artist or designer and the diverse audience who encounters the art. This encounter may generate thought, stimulate conversation, or evoke emotion.
When we first wake up and become aware of light and shape around us, we see. This is a passive experience. We look when we focus our attention on specific objects, images, or details. Looking is active and engaging.
A beautiful piece of art is pleasing to the eye and soul. Sometimes sad and ugly stories need telling and they might be disturbing and uncomfortable. These scenarios share a common goal: to capture attention and to elicit a reaction. Sometimes thinking is more important than liking.
Expressing Grief for Lost Opportunity
The Shower of Stoles is an international collection documenting
several thousand GLBT faith leaders denied serving their call
because of sexual orientation or identity.
Celebrating Ethnic and Cultural Diversity
The Martha Spencer Rogers Crèche Collection features over
190 creches from around the world. This gift directly impacted our
collection philosophy to tell stories from multiple viewpoints.
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The exhibition Art Matters features nine smaller exhibits that illustrate how art is utilized in worship and our corporate life.
Documenting Dialogue
Understanding Other Faith Traditions
Expressing Grief for Lost Opportunity
Building Community
Engaging Global Partnerships
Bridging Political Divide
Celebrating Ethnic and Cultural Diversity
Telling History
Showcasing Members’ Art
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Bridging Political Divide
The painting Jesus is the Bridge depicts children from the USA and Cuba
as separated geographically and politically. The presence of Jesus in the
center of this gulf represents his love for us and demonstrates how he becomes
the bridge across the divide, making our partnership and love for each other possible.
Building Community
The making of art is generally a solitary endeavor. Through Arts Month,
Church School, and other programming for Children, Youth, and Families,
making art frequently becomes a group activity. The 3rd Grade Church School
students each made one panel that together illuminates Psalm 23.
Earth and All Stars
Art by Westminster Members
Arches National Park, by Barbara LaValleur, photograph
The exhibition Earth and All Stars features a delightful variety of art made by Westminster members. The theme was derived from the hymn Earth and All Stars written by Herbert Frederick Brokering in 1964; this hymn may be found in The Presbyterian Hymnal #458. Visitors to the Westminster Gallery will find photographs, paintings, and sculptural
creations that amuse, inform and inspire.
Mother With Child, by Judith Barron Maciag, sculpted walnut
Splendor in the Night, by John Heefner, acrylic on canvasette
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Earth and All Stars
Earth and all stars, Loud rushing planets
Sing to the Lord a new song!
Hail, wind and rain, loud blowing snowstorm
Sing to the Lord a new song!
God has done marvelous things.
We sing praises with a new song!
Steel and machines, Loud pounding hammers
Sing to the Lord a new song!
Limestone and beams, loud building workers
Sing to the Lord a new song!
God has done marvelous things.
We sing praises with a new song!
Classrooms and labs, Loud boiling test tubes
Sing to the Lord a new song!
Athlete and band, loud cheering people
Sing to the Lord a new song!
God has done marvelous things.
We sing praises with a new song!
Knowledge and truth, Loud sounding wisdom
Sing to the Lord a new song!
Daughter and son, loud praying members
Sing to the Lord a new song!
God has done marvelous things.
We sing praises with a new song!
Text by Herbert Frederick Brokering, 1964
The Presbyterian Hymnal #458
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Solitude, by Betty Heefner, oil on panel
Reflections of Love, by Tori Carter
paint and dry brush on paper
Blue Fantasy, by Robert Olson, photograph
Redeemed by the Resurrection
Washing the Feet, artist unknown, oil on panel
possibly Spanish, 19th c. or earlier
The exhibition Redeemed by the Resurrection chronicles the progression of events during Holy Week, beginning with the entry into Jerusalem on Palm Sunday and through the ascension of Jesus. Encountering this short period of time takes us on an emotional rollercoaster ride as we celebrate the triumphal entry into the city complete with waving palm branches and shouts of “Hosanna!”
Judas' Kiss, by August Mölder, etching, 1966
For the sum of thirty pieces of silver, Judas betrays Jesus, triggering His arrest and trial. Jesus is crucified in the traditional manner by being hung on a cross to die, along with two common criminals. He is buried and on the third day a group of women come to visit his tomb and discover it empty. His resurrection is the key to our salvation from our earthly life and the promise of eternal life.
untitled, by Jan Rutherford Shoger
woodblock print, undated
It is quite a journey for us as observers in the twenty-first century, certainly different than that of the people present as the events unfolded. There is joy and deep sorrow. Knowing the ultimate outcome does not necessarily lessen the weight of the struggle and agony of the week. We observe the period of lent much as we do advent - in waiting. We have come through the period of waiting for the arrival and birth of Jesus with anticipation. Now we turn our attention to a more somber time of reflection and preparation. Hopefully, the selection of images presented in this exhibition will guide you in your meditative journey to Easter.
Ascension, by Joan Bohlig, etching, 1995
A Festival of Nine Lessons and Carols
Nativity, attributed to the school of Lorenzo de Credi, oil on panel
16th or 17th century, Italy
A Festival of Nine Lessons and Carols has become a traditional part of Advent observations in the years since it was first performed at Kings College, Cambridge, England in 1918. This service is heard by millions of radio listeners; the King James text and an ever changing selection of carols and hymns are read and sung in churches and concert halls around the world.
This exhibition presents A Festival of Nine Lessons and Carols as transformed from a spoken and sung experience to a visual representation with original art from the Westminster Collection and printed text of the lessons and music. Listen for the story and melody as you engage the text.
Life and Light, by Kirsten Malcolm Berry
watercolor, commissioned for this exhibition
Westminster members Cathie and Jerry Fischer are guest exhibition curators.
Special Exhibition at The University of St. Thomas
A Season of Joy: The Nativity in Global Perspective
Lecture: Friday, December 4, 2009, 7 pm
The Crèche in Many Languages, by Rodney Allen Schwartz
Reception Follows
Christmas Card Design by Timothy Trent Blade
This exhibition is part of the University of St. Thomas 2009 Sacred Arts Festival, Call to Prayer: A Global Yearning. The exhibition features crèches from the Martha Spencer Rogers Crèche Collection and the Christmas card designs of Timothy Trent Blade.
Bolivian Crèche
 
Download a PDF Self-Guided Tour brochure to learn more about Westminster's art and architecture.
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