Inside
NCR Sr. Wendy to judge the Jesus at 2000 contest
This is the only sensible millennium
idea Ive yet heard. Congratulations!
The above was just one of the many endorsements we received when
word went out that NCR is sponsoring a worldwide visual art competition
in search of a contemporary Jesus to give meaning to the end of the old
millennium and the beginning of a new one. What made this testimonial special
was the fact it came from Sr. Wendy Beckett, the famed art nun
whose BBC television series and books have made her a household name wherever
art is appreciated.
But it gets even better. Sr. Wendy has agreed to be the final
judge of NCRs Jesus at 2000 contest. We frankly dont think
theres anyone on earth who combines the religious and artistic
credentials Sr. Wendy does, not to mention the charisma and high-profile
enthusiasm she brings to the project.
The first entries have begun trickling in, and all indications are
that the trickle will soon become a tidal wave. Reaction in the media in the
United States and Canada has been spectacular. You may have caught yours truly,
for example, chatting about the contest with Matt Lauer on the Today
Show the morning of Aug. 19. We have been advised of entries to come from
such places as Austria, Australia and the Czech Republic.
Lest any reader -- or artist -- has been away from Earth these
past few weeks, the background to our search for a contemporary Jesus, and the
regulations for participating in the competition, may be found on page 2 of
both the July 30 and the Aug. 13 issues, or by looking in on our Web site at
www.natcath.org.
Among the pertinent details: There is a first prize of $2,000,
three further prizes of $200; the winners and other top entrants will be
featured in the Christmas issue of NCR; deadline for entry is Oct. 18; a
panel of judges, to be announced later, will do a preliminary screening of the
artwork and pass on their selections to Sr. Wendy for final arbitration.
Sr. Wendy was born in South Africa. She earned a first-class
honors degree at Oxford University. Back in South Africa, she taught until
1970, and then returned to England, where she entered the Sisters of Notre Dame
order. A lifelong lover of art, in the past 15 years she has emerged in the
worlds spotlight explaining art old and new, secular and sacred -- which
she would probably say are the same thing -- and has appealed to art
professionals as well as religious observers.
She has presented three major series for the BBC: Sister
Wendys Odyssey (1992); The Grand Tour (1994); and
The Story of Painting (1996). She has also published many books on
art, most notably The Story of Painting: The Essential Guide to
Western Art (Dorling Kindersley, New York); also Sister Wendys
Book of Saints (D.K.). She will be arriving soon in the United States to
film a new series, Sister Wendys American Collection, which
will focus on six U.S. art museums and will be aired on public television in
2001.
Sr. Wendy now lives in a trailer at the Carmelite Sisters
monastery in Norfolk, England, and frequently laments that her filmic travels
take her away from her study of art and quiet contemplation.
On page 15 a striking image of Jesus
in a yoga posture accompanies John Allens illuminating cover story about
the current Vatican fear of relativism. The image is a reproduction of a
painting displayed in San Francisco in the Old Temple of the Vedanta Society of
Northern California (the society aims to spread awareness of Hinduism in the
West). The artist is Eugene Theodosia Oliver, a Catholic who made contact with
the Vedanta Society in the early years of the 20th century and later entered
the Third Order Carmelites. She died in 1932. Readers interested in obtaining a
full-color copy may order one from the Vedanta Press at (800) 816-2242.
Some time back, Fr. William Graham,
familiar to NCR readers through his regular Bookshelf
feature, wrote a guest opinion piece about cafeteria Catholics. He described an
encounter with a holier-than-thou Catholic woman, whom Graham put in her place
by telling her that going to Mass in a semi-private chapel did not fulfill her
Sunday obligation. Reader Joseph McMillen wrote in to challenge Graham. His
letter in the June 21 issue pointed out that under the 1918-1983 Code of
Canon Law (which covered the period in which Grahams anecdote took
place) Mass in any public or semi-public oratory, or even in a cemetery chapel,
was acceptable. We invited Graham to respond, but in the rush of getting that
issue to print his response was dropped. Here, in full, is Grahams reply:
Mea maxima culpa.
-- Michael Farrell
National Catholic Reporter, August 27,
1999
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