Still Small Voice: British Biblical Art in a Secular Age (1850-2014)
- Submitting institution
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University of Gloucestershire
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 31
- Type
- M - Exhibition
- Venue(s)
- The Wilson, Cheltenham Art Gallery and Museum
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- January
- Year of first exhibition
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This portfolio submission comprises the following elements is based around a curated exhibition of British biblical art from the Ahmanson Collection, which ran at the Wilson Gallery, Cheltenham, from 17 January to 3 May 2015:
• Fully illustrated 170pp catalogue.
• Solo installation by Pryor, ‘God’s Wrath’, which ran concurrently at The Wilson gallery.
• Series of talks and workshops offering in-depth analysis and interpretation of the project for both public audiences and schools.
‘Still Small Voice’ comprised 30 selected works from the internationally significant private collection of biblical art held by the Ahmanson family, based in California. Pryor’s selection included works by artists such as Craigie Aitchison, Henry Moore, Stanley Spencer, Jacob Epstein, Barbara Hepworth, Edward Burra, Graham Sutherland, Eric Gill and Christopher LeBrun. The Ahmanson family offered this loan in order to connect Stanley Spencer’s ‘Angels of the Apocalypse’ with his ‘Village Life’, a key modern masterpiece in the painting collection at The Wilson.
Pryor’s own contribution to the exhibition, ‘God’s Wrath’, was a solo installation that responded to Spencer’s ‘Angels of the Apocalypse’, shown alongside the main exhibition in the Wilson’s Atrium space. This work both pays homage to Spencer and offers a contemporary interpretation of the same biblical theme.
Pryor used the different elements in this project to explore how contemporary art practice can re-examine canonical ideas of Biblical imagery and its interpretation, and how the disruptive potential of new approaches to religious imagery might generate useful contemporary discourse in both art and theology.
- Author contribution statement
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- Non-English
- No
- English abstract
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