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Bringing the Dark Madonna to Light: Contemporary Interpretations

Curated by Mondo Jud Hart and Thomas Lucas, S.J.

Artists presenting new works inspired by the Dark Madonna— mother, healer, and of justice and compassion.

Co-sponsored by GTU’s “The Images of Divinity Project/CARE”

Participating Artist Statements:

Pamela Blotner “La Sourire” Mahogany / 2001 The sculpture responds to the austere dignity of the Black Madonna of Rocamadour (France) by presenting the joyous, life-affirming qualities that exist internally and are revealed in the face.

Linda Sanders Colnett “Truckin' with Sara-la-Kali” Mixed media with dashboard / 2001 The earth goddess, Kali (Hindu goddess of destruction and renewal) is considered one of the prime archetypes of the Dark Madonna. That Kali—wieding a bloody sword, belt adorned with the arms of men she has killed, and a necklace of skulls—is being associated with the Madonna is quite a concept to contemplate. When I discovered that Sara-la Kali, worshipped by the Gypsies, was associated with Kali, the mother goddess of their homeland, India, I knew I had found the right Madonna to explore in my work.

Roberta Collier-Morales “Loreto” Mixed media / 2001 The Black Madonna of Loreto caught my attention because of the way she was transported out of danger. I thought several goddesses (Kwan Yin, Sarasvati, Athena, a Nordic Goddess, Freja, White Buffalo Woman, and Nut) should transport the Black Madonna rather than ethereal angels. These powerful figures have been revered by women throughout the ages and I want to remind the public that we have had many female throughout human history.

Jerry De La Cruz “Mona Donna” Acrylic, mixed media / 2001 I have always viewed the image of the Mona Lisa as a Madonna figure. Both are enigmatic and mysterious. Writings about the Dark Madonna explain that she is woven into the very fabric of the Catholic tradition. This dovetails with my impression that the Mona Lisa, likewise, is woven into that same fabric. With white Madonnas painted black and the converse, black Madonnas painted white, I decided to merge the Dark Madonna/Mona Lisa into the black/white debate.

Eleanor Dickinson “Dark Madonna” Pastel on velvet / 2001 This work is influenced by the subject, Lori Kay, a sculptor; it examines women’s power in pregnancy and birth, the ultimate act of creation.

Kip Farris “An Allegorical Anthology of the Madonna di Loreto” Mixed media / 2001 During my service in the U.S. military from 1960 to 1964, I lived in Northern where my vision for painting and sculpture was deeply influenced by the styles and techniques of the painters and sculptors of the Italian renaissance (Titian, Tiepolo, Donatello). With this and her long history in mind, I concluded to render the Black Virgin of Loreto.

Legend Casa Santa, a thirteen by 30 foot house containing a cupboard, a Greek cross, altar and a strange statue of a lady, was believed to be the home of the blessed Virgin in Nazareth and flown to its present site in the Italian town of Loreto by a band of angels. In 1291, the house turned into a church by apostles when Nazareth fell into the hands of Muslim invaders during the fall of the Latin Kingdom of . From 1468 to 1587, the Basilica was built. Its façade is by Donato Bramante, dome by Guilliano da Sangallo, and marble tabernacle by Sansovino. In 1921 the statue of the blessed Virgin was burned and replaced with a statue carved from cedar in the Vatican. The original statue is said to have been made by Saint Luke.

Mondo Jud Hart “Dark Virgin of the Lake” (a meditation on the origins of wisdom and ignorance yesterday, today, and tomorrow) installation in 4 parts (wall, two wall cases, and hall case) encaustic wax, wood, foam, mixed media / 2001 The intensity and depth of the August procession and fiesta at Lake Titicaca determined my choice. The ten day event honors Bolivia's patron saint, the Virgen de Copacabana, who appeared to Brazilian Indian fishermen in 1576 during a terrifying storm to lead them to safety. This pageant where Bolivian peasants of Indian ancestry reassert their heritage with historical dances and music about the conquest includes Inca divinities and Spanish devils re-enacting Pizarro's death sentence upon Inca king Atahualpa.

Norah Hernandez “La Asuncion de la Virgen Negra” Plaster, mixed media / 2001 I was born in Puerto Rico and raised with a traditional Catholic background. The Virgin was an essential part of my religious practice. It is the Asuncion de la Virgen that influenced this piece.

Stan Huncilman “Puy” welded, painted steel / 2001 I was inspired by the image of the Le Puy Black Virgin.

José Ramón Lerma C.M. “Virgen de Guadalupe/Tonantzin” collage / 1998 This work combines Aztec culture with the story of the Virgin of Guadalupe. The eclipse of the moon represents the end of Aztec culture. On December 12th on a dry hill in the latter part of the 16th century in the City of Mexico (Tenochitlan) appeared La Virgen de Guadalupe. Out of her cosmic a new culture evolved. To the indigenous people of Mexico she is Tonanzxin, mother earth. She offered her corazon to the lands of North and South America and became the patron saint of their people.

Tom Lucas S.J. “Ark of the Covenant” Mixed media 2001 The image of Our Lady of Montserrat is one of Europe's most ancient and venerated Dark Madonnas. Shortly after his conversion in 1522, Ignatius Loyola visited the shrine just outside Barcelona. After an all night vigil-at-arms before the Lady, Ignatius left his sword behind and embarked on a new life of commitment and service.

Special thanks to Moses Aipa and David Pangaro for their assistance with this piece.

Gabriel Navar “¡Reciparace Mi Dulce Fe!” (My Sweet Faith Reappears!!) Acrylic and oil on wood / 2001 This painting is influenced by the Brazilian Madonna, “Our Lady Aparecida.”

Katherine Osenga “The Madonna of ” Oil on wood and mixed media / 1991 This piece is a reinterpretation of Czestochowska.

“The Black Madonna” Oil on wood and mixed media / 2001 This Black Madonna is a reflection on Switzerland's Madonna in the Dark Wood.

Maritza Perez “Exile: Last Wish” Mixed Media / 1986 As patron saint of Cuba, The Virgen de la Caridad del Cobre has her counterpart in the African Yoruban deity Ochun. This duality encompasses the Virgen as merciful protector of fisherman in popular religious iconography and as a symbol of love and sensuality in the deity of Ochun. These two signs merge in Cuban culture to represent an ideal of the stereotypical Cuban "Creole" woman. In "Exile: Last Wish,” The Virgen de la Caridad del Cobre appears as the black silhouette of a voluptuous woman—a last wish from the fisherman—passion and compassion in one.

Lisa Ramirez "Cloak of Transcendence" Mixed media and painting / 2001 This work is inspired by of El Cobre and pays homage to my dear friend, Mario Roberto Yanez, a native of Cuba and a brilliant artist who transformed the lives of those who nurtured him throughout his life.

David Ramsey “Pieta” Acrylic on canvas / 1974 This painting is influenced by Mexican colonial art.

Judy Luraschi Starbuck “Untitled” (series of 8) Mixed media / 2000 This image simply appeared to me as Madonnas often do. I decided to dress her differently so she could be from all parts of the world, while always using the same face on the mother and child.

J. Michael Walker "Nuestra Señora de Rosas, Lirios y Luz" ("Our Lady of Roses, Lillies and Light") Color pencil on paper / 1999 Much of my work is a celebration of women and relates to my personal interpretation of la Virgen. In my works, the faces of friends and family back home in Mexico appear as la Virgen. Here the twin self-portrait devotees speak Nahuatl (Aztec) poetry by Nezahualcoyotl, the great Aztec poetry-king. The central figure depicts a Tarahumara Indian friend, Malusa, in a Peruvian Colonial form of the Virgin Mary with various “Marian” symbols. My Virgin is winged—a form known as the Virgin of the Apocalypse.

Last Updated Fri, Nov 9, 2001