While place-based pilgrimage is an embodied practice, can it be experienced in its fullness through built environments,
assemblages of souvenirs, and music? Imaging Pilgrimage explores contemporary art that is created after a pilgrimage and intended to act as a catalyst for the embodied experience of others. Each chapter focuses on a contemporary artwork that links one landscape to another-from the Spanish Camino to a backyard in the Pacific Northwest, from Lourdes to South Africa, from Jerusalem to England, and from Ecuador to California. The close attention to context and experience allows for popular practices like the making of third-class or "contact" relics to augment conversations about the authenticity or perceived power of a replica or copy; it also challenges the tendency to think of the “original” in hierarchic terms.
Imaging Pilgrimage brings various fields into conversation by offering a number of lenses and theoretical approaches (materialist, kinesthetic, haptic, synesthetic) that engage objects as radical sites of encounter, activated through religious and ritual praxis, and negotiated with not just the eyes, but a multiplicity of senses.
Author(s): Kathryn R. Barush
Publisher: Bloomsbury Visual Arts
Year: 2021
Language: English
Pages: 283
City: New York
Cover page
Halftitle page
Praise for Imaging Pilgrimage
Title page
Copyright page
Contents
Illustrations
Acknowledgments
Introduction: Pilgrimage as Art, Art as Pilgrimage
Notes
1 Vashon Island → Spain1 A Backyard Camino
From Cyrene to the Veranda: origins and continuities
“I have a trail where I paint with mud”: material culture of the backyard Camino
Film as pilgrimage: a case study
Conclusion—ends and beginnings . . .
Notes
2 South Africa → Lourdes Souvenirs as Sites
How and why an apparition was first “made material”
Mary, materiality, and message: a pilgrimage through art
Water, water everywhere! The Lourdes replica tradition
Conclusion
Notes
3 England → Jerusalem Rewilding Through Pilgrimage Song and Chant
Songs of the Old Way
Music as a healing relic: the songs of Godric, hermit saint of Finchale
A pilgrimage for Jerusalem: “And did those feet”?
Art along the Way
Afterword: Bountiful, West Jordan, and Zion Park
Notes
4 Oakland → Ecuador Haciendo marcas otra vez —Making Marks, Again
Objects as sites of extratemporal communitas: Xbus, holy water, religious images
Mapping the sacred landscape: Quechuan and Catholic contexts
Widening the lens: religious art in the contemporary artworld
Conclusion
Notes
5 Los Altos → Everywhere “The End Is Where We Start From”
Labyrinthine forms through culture and time
The Ignatian imagination and the commissioning of labyrinths
The commissioning of the Los Altos Labyrinth
The compatibility of labyrinths with Ignatian spirituality
Pilgrim experiences: faith embodied
Labyrinths at other Ignatian retreat centers and universities: Boston College and Manresa Jesuit Centre for Spirituality, Dublin
Conclusion
Notes
Toward a Conclusion: “As Far as the Eye Can Travel”
Notes
References
Index
Plates
