To celebrate the month of November with Mary:
Marian Commemoration Days
Mary Page offers a variety of resources inviting study, reflection and
meditation. We also list important Marian dates for each month of the
year. Please see Marian Commemoration Days for the month of
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A section on
has been added to our About Mary page. The latest addition was
Children Learn to Pray the Hail Mary. Expect more sections to follow.
A section on
stamps with images of Mary has also been added to About Mary page. The
latest added was
Peru. Expect more countries to follow.
We have updated
Marian Thoughts of
Benedict XVI through October 23 as well our answer to a reader's question
about Our Lady of
Good Success. We have also added
A New Heresy and
Our Lady of
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New Hampshire Public Radio recently aired a piece on mosaic iconographer
Robert Andrews which featured comments by Dr. Virginia M. Kimball, current MSA
President. Voice of America plans to air the program overseas. To
hear the streaming audio click into
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Polish Madonna Prints Still
While the note-cards are now out of stock, eleven different prints are still
available from Wislawa Kwiatkowska's "Polish Madonnas in Art and Poetry"
exhibit. There are nine 11" x 14" prints and two 8.5" x 11" prints. All
pictures are printed on 80# paper.
The 11" x 14" pictures available are:
Madonna of the Sowers
Madonna Covered with Cherry Blossoms
Mother of God of Lichen
Mournful Mother of Czestochowa
Madonna of the Mushrooms
Our Lady of the Birches
Golden-Green Mother of God
Madonna of the Mountains
Madonna Riding on a Deer
The two 8.5" x 11" prints available are:
The 11" x 14" prints are $5 each. The 8.5" x 11" prints are $3 each or 2 for
$5.00. There is an additional charge of $5 for each quantity of 11 prints or
less to cover postage and handling. Here is an example of the postage and
1-11 prints: $5 per ORDER (not per print)
12-22 prints: $10
23-33 prints: $15
Specify which prints and quantity you want and make a check or money order
out to "The Marian Library." Mail it to:
The Marian Library
University of Dayton
Dayton, OH 45469-1390
We also have a "Polish Madonna" Windows PC screensaver that shows all twelve
of the pictures that were in the St. Anthony Messenger article. It sells
for $5.00, which includes postage and handling.
If you have any questions, please call 937-229-4214.
Christmas Carol: Compassionate animals draw close to Baby Jesus in the
manger and warm him with their breath.
Golden-Green Mother of God: Mary and Baby Jesus sit in a dill garden.
Mary looks tenderly after her children with the same attentiveness that she
looks upon the cherished golden-green dill of her garden.
Madonna Covered with Cherry Blossoms: Delicate cherry blossoms frame
the faces of Mary and Baby Jesus while butterflies--symbols of the
Resurrection--circle around them.
Madonna of the Mountains: This snowy scene shows Mary in solidarity
with all creation; she knows what it is like to be cold and hungry, yet she is
determined to overcome all the wintry trials of life. In her basket she carries
two little bears that are eager to see Baby Jesus.
Madonna of the Mushrooms: These mushrooms of autumn are attractive
but deadly; Mary draws out the poison and warns against the allure and
perniciousness of sin.
Madonna Riding on a Deer: Based upon a Polish legend, this picture
shows Mary and Baby Jesus being whisked away from danger by a swift and noble
Madonna of the Sowers: From the lilac heather, through the morning
fog, the wind pulls threads from Mary's shawl and wraps them around the trees
and branches, protecting the autumn seeds.
Mother of God of Lichen: Mary fingers her rosary and gazes
prayerfully at the insignia of the Polish eagle on her chest, as the animals are
drawn to her loving maternal presence.
Mournful Mother of Czestochowa: In this portrait of the famous icon of
Our Lady of Czestochowa, Baby Jesus tries to comfort his mother as she mourns
for the fate of the Polish people. Around Mary's shoulders is a blue and gold
ribbon from which hangs the Virtuti Militari--the highest Polish
military honor that is given in recognition of bravery. (The two slashes on the
face of the original icon were inflicted by Hussite soldiers in the fifteenth
Our Lady of the Birches: The white of the birches symbolizes the
purity of Mary, while the storks gathered around her represent prosperity and
the hope for children.
So Human: In a conversation with the saints in heaven, St. Ann
reminisces about her little Mary, who loved to gather flowers and frolic with
New Web Addresses for The Mary Page
In order to make our web site more accessible, The Mary Page may now be
reached at the following URLs: marypage.org; themarypage.org; and
themarypage.net. The original address on the University of Dayton site
remains active as well.
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Two important Catholic websites have added The Mary Page to their list of
items from The Mary Page in their section on Catholic News.
Catholic.net includes a Mary
Channel on their navbar with Mary Page articles. Please visit these site in
return. We expect continued collaboration with them in the future.
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"The Song of Songs Illustrated," Henry C. Setter's illustrations of
this Biblical book now on display in The Marian Library Gallery through October
31, 2005. The exhibit is free and open to the public on weekdays from 8:30
am - 4:30 pm. For tours and information call 937-229-4214. Click
here for a virtual
Setter, a Cincinnati native and former U.D. Professor, has taught art for 42
years and still works as a professional artist. He has received numerous
art commissions in the United States and Europe, and his watercolors, mosaics
and sculptures are displayed in both private and public collections. His
woodblock prints and sculptures have received awards in juried exhibitions
throughout the United States.
Creches and Straw Art are also on display in our museum.
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International Marian Research Institute Course Schedule
IMRI courses for the Fall 2005 semester swill conclude on November 11. The course
schedule through Fall 2005 is now available.
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Pilgrimage to Marian Shrines
St. Mary's University Travel Service is arranging pilgrimages to Notre Dame,
Lourdes, Zaragoza, Fatima, etc. with Fr. Rudy Vela, S.M. from May 16-29, 2005.
For details click into George's International
Click this link for a list of all of the current
Marian Events by
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You are invited to help us pray for our Prayer Corner
intentions. Please take a look! This site has been updated and enhanced
and now allows users to directly submit prayer requests or to volunteer as a
prayer partner for these intentions!
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Benedict VXI Publishes Synod's Recommendations
Vatican City, October 23, 2005
In an unprecedented move,
Benedict XVI published the 50 propositions presented by the Synod of Bishops on
the Eucharist. The propositions, which will be the basis for the Pope's post-synodal
apostolic exhortation, will only be presented in a non-official Italian translation
of the Latin original, in order to preserve some confidentiality, reported the
General Secretariat of the Synod of Bishops on Saturday.
Benedict XVI said today that the post-synodal exhortation will "portray the face of the
'Catholic' community," which finds its strength and unity in the Eucharist. …
propositions include presenting Mary as "Eucharistic woman," and encourage the
faithful to have "the same sentiments of Mary."
On Closing of Synod and Year of the Eucharist
Vatican City, October 23, 2005
Here is a translation of Benedict XVI's words before and after reciting the Angelus, at the end of the
Mass that closed the Synod on the Eucharist and the Year of the Eucharist. He also canonized five saints at the Mass.
* * *
Dear Brothers and Sisters!
With today's Eucharistic celebration in St. Peter's Square, the assembly of the Synod of Bishops has closed and, at the
same time, the Year of the Eucharist has ended, which our beloved Pope John Paul II opened in October 2004 ...
Moreover, today, as the images exposed on the facade of the Vatican basilica show, I have had the joy of
proclaiming five new saints that, at the end of the Eucharistic year, I want to
point out as exemplary fruits of communion of life with Christ. They are Jozef
Bilczewski, bishop of Lviv of the Latins; Gaetano Catanoso, presbyter, founder
of the Congregation of the Veronican Sisters of the Holy Face; Zygmunt
Gorazdowski, Polish priest, founder of the Congregation of the Sisters of St.
Joseph; Alberto Hurtado Cruchaga, Jesuit priest, Chilean; and the Capuchin
religious Felice de Nicosia.
Each one of these disciples of Jesus was formed interiorly by his divine presence received, celebrated and
adored in the Eucharist. Each one of them, moreover, lived with different hues a
tender and filial devotion to Mary, mother of Christ. These new saints, whom we
contemplate in heavenly glory, invite us to take recourse in every circumstance
to the maternal protection of the virgin to make ever more progress on the path
of evangelical perfection, supported by constant union with the Lord really
present in the sacrament of the Eucharist ...
Whoever receives Christ in the reality of this Body and Blood cannot keep this gift to
himself, but is impelled to share it in courageous witness of the Gospel, in
service to brothers in difficulty, in forgiveness for offenses. For some,
moreover, the Eucharist is seed of a specific call to leave everything to go and
proclaim Christ to those who still do not know him. Let us commend to Mary Most
Holy, Eucharistic woman, the spiritual fruits of the Synod and of the Year of
the Eucharist. May she watch over the path of the Church and teach us to grow in
communion with the Lord Jesus to be witnesses of his love, in which is the
secret of joy.
Pope's Homily at Close of Year of the Eucharist
Vatican City, October 23, 2005
Here is the conclusion of the homily Benedict XVI delivered in Italian, Polish, Ukrainian and Spanish during
the Mass that closed the Synod on the Eucharist and the Year of the Eucharist, and in which he canonized five new saints.
Dear friends, we must start again from the Eucharist. May Mary help us, a Eucharistic
woman, to be in love with it, help us to "remain" in the love of Christ, to be
intimately renewed by him. Docile to the action of the Spirit and attentive to
man's needs, the Church then will be a greater beacon of light, of true joy and
hope, achieving fully her mission as the "sign and instrument of the unity of
the whole human race" ("Lumen Gentium," No. 1).
Message of Synod on the Eucharist
Vatican City, October 23, 2005
Here is are excerpts of the final message of the Synod of Bishops on the Eucharist, approved Friday at the
concluding general assembly.
* * *
The Eucharist: Living Bread for the Peace of the World ...
Blessed be the God and Father of our Lord Jesus Christ, who has again gathered us as in the Cenacle, with Mary
the Mother of God and our Mother, to recall the gift par excellence of the Holy Eucharist ...
Dearly beloved brothers and sisters, we are called, in whatever form of life we find
ourselves, to live our baptismal vocation, clothing ourselves with the
sentiments of Christ Jesus (see Philippians 2:2), matching one another in
humility, following the example of Christ Jesus. … Your Eucharistic witness in
the service of Christ is a cry of love in the darkness of the world, an echo of
the ancient Marian hymns, the Stabat Mater and of the Magnificat. May the Woman
of the Eucharist par excellence, crowned with stars, and rich in love, the
Virgin of the Assumption and of the Immaculate Conception, watch over you in
your service of God and the poor, in the joy of Easter, for the hope of the
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The director and editors of Mary Page under the auspices of the International
Marian Research Institute do not necessarily endorse or agree with the events
and ideas expressed in this feature. Our sole purpose is to report on items
about Mary gleaned from a myriad of papers representing the secular press.
It Was Multicultural Before
Multicultural Was Cool
[Source: New York Times, October 19, 2005]
I was flabbergasted when I saw ''African Zion: The Sacred Art of Ethiopia''
in New York City in 1994, the first big display of Ethiopian religious art to
travel to North America. I had known this art only in intriguing bits and
pieces. But the sight of a hundred blazingly colored icons and glinting metal
crosses in one place was sensational. I remember its impact in aural as much as
visual terms, as a kind of charged chanting, though no music was playing.
What was news to me was news to a lot of other people too, not to mention the
city's art institutions. The show wasn't at the Metropolitan Museum or the
Brooklyn Museum. It was at the Schomburg Center for Research in Black Culture in
Harlem. Famed for its library and archives, the Schomburg has an active gallery,
though one unlikely to pull in the huge crowds that ''African Zion'' should have
had. ''Lucky Harlem,'' I thought at the time.
And now, lucky Midtown. The first major gallery sale exhibition of Ethiopian art
in the United States opened yesterday at PaceWildenstein on East 57th Street.
Organized by the London dealer Sam Fogg, it's a fierce, gorgeous,
With 50 objects, the show covers centuries of Africa's oldest Christian culture.
In antiquity, Ethiopia was a mix of African people and Semitic people who had
crossed the Red Sea from Saudi Arabia. According to tradition, the first
Ethiopian emperor, Menelik, son of the Queen of Sheba and King Solomon, brought
the Ark of the Covenant from Jerusalem to establish Ethiopia as the new Israel.
This Old Testament identity was, however, tailored to accommodate Christianity.
And in the fifth century A.D., when Ethiopia was, with Rome and Persia, one of
the superpowers of the ancient world, Ethiopian Orthodoxy became the state
religion. Later Islam swept in, cutting the country off from the Byzantine world
and adding its own cultural impulses. Influences from sub-Saharan Africa were
subtle and constant.
These ingredients contributed to a church distinctive in its beliefs, worship
and art. The most familiar and durable forms are openwork crosses of bronze or
iron mounted on long staffs carried by priests.
Meant to be seen in pierced silhouette against the sky or candlelight, they
became ever more elaborate and delicate hybrids of Byzantine and Islamic
designs. The workmanship of the finest of them is beyond superb, rivaling pieces
from the royal ateliers of the West Africa kingdom of Benin. And Mr. Fogg has
fantastic examples dating from the 12th to the 19th century.
The real attraction, though, lies in icons and manuscripts, several dating from
the late 15th and early 16th centuries, a high point in Ethiopian church art,
which means in Christian art, period.
Icons, painted on wood panels or made of cloth glued to boards, come in many
sizes. Small, closeable, pocket-size diptychs were made to be portable, maybe
worn on the body. Others are larger and structurally more complex. Almost all
have the image of the Virgin Mary, the central figure of Ethiopian Orthodoxy, as
In a grand 17th-century triptych, Mary shares the central panel with Jesus, who
grasps her wrist, raising her hand as if declaring her a champion. In another,
she takes the more characteristic form of the divine mother with the infant
Jesus in her lap. She is attended by startlingly un-serene company: wide-eyed
angels, jubilant warriors and the hermit-saint Gabra Manfas Qeddus who lived for
more than 500 years, fed birds with his tears and, apparently, wore his
floor-length hair cinched at the waist like a bathrobe.
This figure of Mary was based on a miraculous icon at the Basilica of Santa
Maria Maggiore in Rome, which had been reproduced in prints that Jesuit
missionaries took to Ethiopia. Even earlier, though, European art had arrived
firsthand in the person of the Venetian painter Nicolo Brancaleon.
Brancaleon came to Ethiopia in 1480 on what he might have planned as a quick
trip, but ended up staying as a captive court painter for 40 years. Two diptychs
associated with him are in the show. In one, he is clearly an Italian painter
working in the international Gothic style; in the other, most likely done years
later, he has absorbed Ethiopian art and is a more stimulating artist.
Less easily traceable are the specific influences that fed into the show's most
splendid Gospel, probably produced by a heretical and isolated monastic sect.
Its monumental pages include rows of small, vertical portraits of prophets and
apostles, dark skinned and light skinned, their shovel-shaped heads with
squared-off mouths recalling sub-Saharan sculptural styles.
Cultural breadth is one of the most thrilling things about Ethiopian art. It is
also one reason it remains little studied. It requires scholars equally
conversant in European, Islamic and African art--a tall multicultural order. In
addition, there is the spiritually interactive nature of the art. You look at
it, and it also looks at you. It radiates blessings, a difficult concept to
convey in a Western context.
Yet as elusive as it is, Ethiopian material is an increasingly hot property.
Around the time of ''African Zion,'' the Walters Art Gallery in Baltimore, which
helped organize that exhibition, initiated an acquisition campaign. It now has
the largest collection of Ethiopian material outside of Addis Ababa. In 1997,
the Museum for African Art in New York presented ''Art That Heals: The Image as
Medicine in Ethiopia,'' which incorporated non-Orthodox talismanic painting, a
few samples of which are at PaceWildenstein.
Meanwhile, the Met bought--from Mr. Fogg--a fabulous 15th-century Gospel, now in
the Michael C. Rockefeller wing. The museum also had Ethiopian material in
''Byzantium: Faith and Power (1261-1557)'' last year, and recently organized a
symposium on early Christian art in Africa. Can we consider Mr. Fogg's 57th
Street exhibition a herald of further museum interest in Ethiopian art? I don't
know. But I do know that, with its exhortative rhythms, it's as entrancing a
show as any in the city right now, and in less than two weeks it will be gone.
''Art of Ethiopia'' is at PaceWildenstein (Pace Primitive), 32 East 57th Street,
seventh floor, Manhattan, (212)421-3688, through Oct. 29.
Little Pebble's Cult to Go On
Without a Ripple
[Source: The Australian, October 17, 2005]
Followers of a doomsday cult based on the NSW south coast have
vowed to "go forward" after their spiritual leader was jailed for sex offences.
Malcolm Broussard, now the most senior member of The Order of St Charbel, issued
a statement yesterday urging followers to remain at peace and assuring them that
"the forces of evil" had not won.
Mr Broussard, a Texan who uses the title bishop but was officially
excommunicated from the Catholic Church in 2003, posted a message on the group's
website saying "this community will continue to go forward".
William Kamm, known to followers as The Little Pebble, was jailed on Friday for
up to five years for sexually assaulting a 15-year-old girl who lived in the
sect's community in 1993.
He was found guilty in July of four counts of aggravated indecent assault and
one of aggravated sexual intercourse.
Kamm's devotees believe he receives messages from the Virgin Mary and will be
the last pope on earth. He molested the girl soon after he told her she had been
chosen, at the direction of the Virgin Mary, to be his mystical wife.
Kamm and his followers believe he will have 12 queens and 72 princesses with
whom he will father a divine tribe after the "end times."
Mr Broussard said: "It would seem, on the surface, that the dark forces of evil
have won a victory, but it is not true."
The Catholic Church has outlawed the order. A school in the grounds of the
community at Cambewarra, outside the south coast town of Nowra, is under
investigation by the NSW Board of Studies.
Kamm's barrister Greg Stanton said his client would appeal against the
conviction and the sentence.
Basilica's History Wins Out Over
Purity of Design
[Source: The Baltimore Sun, October 16, 2005]
The idea was to peel away layers of history, to strip off
non-original details and get back to the essence of the building envisioned by
architect Benjamin Henry Latrobe.
Going back in time, architecturally, was the overriding concept behind the $32
million restoration and modernization of Baltimore's Basilica of the Assumption
of the Blessed Virgin Mary, which was built starting in 1806 and dedicated in
1821. It was the reason the 1940s-era stained-glass windows were removed. It was
the impetus for re-creating 24 skylights in the dome--to "restore the light" in
the cathedral as Latrobe meant for it to be seen.
But what happens if restorers discover works of art or other artifacts that are
so significant and so well-preserved that it would be a shame to peel them away?
Architect Stephen Reilly faced that situation last summer, when he unearthed
four 140-year-old paintings hidden in recessed panels beneath the basilica's
Reilly is an architect with John G. Waite Associates, the New York architectural
firm that is guiding the restoration work for the Basilica of the Assumption
Historic Trust. Work is scheduled for completion by November 2006.
The uncovered paintings are allegorical depictions of the Gospel evangelists
Matthew, Mark, Luke and John. Created with distemper water-based paint and
measuring 15 feet by 8 feet, they depict Matthew as a human, Mark, a winged
lion, Luke, a bull, and John, an eagle.
Reilly and other members of the restoration team have determined that the
paintings date from 1865 and were covered over in the 1870s, as part of a later
That timeline poses something of a dilemma for 21st-century restoration experts
aiming to take the interior back to its early 1800s appearance.
From the start of the restoration project, some observers have lamented that the
architects would want to take the building back to the way it looked at a
certain point in time, as if everything that happened later was less
"Historic preservation respects the evolution of a building," says John Murphy,
a Baltimore attorney who has questioned architect John Waite's approach.
But Waite and his colleagues argue that Latrobe, who also designed the U.S.
Capitol, was America's first great architect and that the cathedral was his
masterwork. They say that more people will visit the cathedral if it's restored
to the way Latrobe envisioned it.
If the restoration architects are right about the 1865 date of the paintings
they uncovered, that means the images did not exist when the building was
dedicated in 1821. It is doubtful that Latrobe had any knowledge of them, since
he died in 1820.
So why should these paintings be saved when other elements, such as the
stained-glass windows, have been taken out?
Reilly points out that the images were painted on recessed panels that were part
of the original building, as shown in Latrobe's drawings. They may have been
blank when the building was dedicated, or they may have had earlier surface
paintings that were covered by the ones painted in 1865. Either way, Reilly
said, Latrobe designed them to be settings for works of art.
Additional arguments for keeping the paintings are that they are in extremely
good condition, and that their colors echo the coloring on rosettes and other
building features that are even older.
A final factor in the decision to keep the paintings in place is that Cardinal
William Keeler, leader of the Archdiocese of Baltimore, wanted them to stay.
Baltimore's basilica has contained an interpretation of the four evangelists, in
one form or another, for 140 years, starting with these paintings.
"The cardinal felt very strongly that the four evangelists should be represented
in the restoration of the basilica," said Nolan McCoy, director of facilities
for the Archdiocese of Baltimore. "When these paintings were discovered, he felt
they were significant enough to satisfy this requirement."
The paintings won't be the only features in the building that don't go back to
1821, of course. The modernization work is adding new restrooms, mechanical
equipment and an elevator that links all public levels.
The decision to keep the paintings points out the difficulty of adopting a hard
and fast design approach that calls for taking the appearance of any building
back to a given point in time, especially when that building is as steeped in
history as Baltimore's basilica is.
From a preservation standpoint, it's reassuring to know the restoration process
is flexible enough that discoveries such as the four paintings can be
incorporated into the final design.
Because it is being restored in accordance with Latrobe's vision, Baltimore's
basilica will be a powerful testament to the architect's genius. But it will
offer an even richer experience for visitors, and perhaps be more accessible,
because not all of the successive layers of history have been peeled away.
[Source: New York Times, October 16, 2005]
Faith, a hot-button issue in the political arena these days, is the subject
of a messy, restless new exhibition at Real Art Ways in Hartford.
The exhibition, organized by James Hyde from New York, with assistance from the
National Endowment for the Arts, the Andy Warhol Foundation and others, consists
of artworks in all media by a dozen artists.
Some of the artists, like Matt Collishaw, Patty Chang and Josiah McElheny, are
rising stars. This is a fashionable show.
To speak about faith in art, film and literature often furrows people's brows.
But faith and art have, of course, long been intertwined. Until the 15th
century, the colorful illustration of biblical scripture to dazzle and then
indoctrinate the faithful was the sole justification for visual imagery, at
least within the Western or European art tradition.
The church no longer commissions art, but faith still lingers as a subject of
intense interest for artists. This is where the present exhibition positions
itself, surveying the spectrum of work by artists dealing with questions of
faith -- a subject broadly understood to mean having complete trust or
confidence in someone or something. Thus some of the artwork here is about
religion, and some of it is not.
Heading the bill is a series of five photographs from Rachel Harrison's
''Untitled (Perth Amboy Series)'' (2001). The grainy, un-artistic-looking
photographs document the hands of anonymous worshipers on a window of a suburban
New Jersey house upon which, in 2000, it was said that an apparition of the
Virgin Mary appeared. The apparition drew thousands of miracle seekers and
faithful eager to touch the windowpane.
While those drawn to the New Jersey windowpane may not have seen the apparition,
they found something to believe in. They are not unlike the pilgrims that today
seek out the sites of the multiple miracles attributed to Saint Anthony of Padua,
including the one at the bell tower in Padua from which a glass jar apparently
was dropped and not only survived the fall, but also broke the pavement below.
This is the subject of a curious installation by Mr. McElheny, consisting of a
black-and-white reproduction of a 16th-century fresco depicting the story of the
''miracle of the cup'' and next to it a recently crafted cup in the style of
There is also some wacky stuff in the exhibition. As you wander about Nari
Ward's ''Savior'' (1996), an assemblage of plastic garbage bags, bottles, an old
ladder, a mirror and other junky objects stuffed into a rusted shopping cart,
you haven't the slightest idea of what the message is supposed to be, even as
you feel the effects of the work infiltrating your mind. This inclusion, I
guess, speaks to the curator's wayward taste.
Other works are more tangential to the theme, with references to faith so
obscure that they don't feel like references at all. The Pakistani painter
Sabeen Raja's delicate miniatures, for example, are confessional in tone rather
than faith-related. Or Ms. Chang's video performance, from 2001, in which she
fills her blouse with live electric eels. I suspect this is more about endurance
''Faith'' is at Real Art Ways, 56 Arbor Street, Hartford, through Jan. 29.
Information: (860)232 1006 or www.realartways.org.
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