MOCRA Exhibit Restores Art to Life Before Patrons' Eyes
Saint Louis University’s Museum of Contemporary Religious Art (MOCRA) has always welcomed
visitors to contemplate works both beautiful and sacred. Now, visitors have a rare
opportunity to see one of those works come to life, as a conservation team restores
a mixed media sculpture by an important American artist right in the gallery’s heart.
The conservation in fact, is an exhibit itself, Visible Conservation.
The conservation project and exhibit revolve around artist Michael Tracy’s 1981 masterwork
Cruz to Bishop Oscar Romero, Martyr of El Salvador. The piece entered the museum’s collection in 2016.
The exhibit features live conservation work as well as an “Ask a Conservator” interactive
wall and social media conversation that allows art lovers to engage with the museum
staff and conservation team to learn more about the piece and the process to conserve
it for future visitors.
“For us, this is far more complex than anything we’ve ever dealt with,” David Brinker,
MOCRA’s assistant director explained. “So, the public can learn along with us.”
The preservation of the work carries forward SLU’s mission, Brinker and MOCRA director
Terrence Dempsey, S.J., said, because it highlights the role both University and museum
play in preserving the past.
“For us as a museum, it reinforces what a museum is about,” Brinker said, “that we
take on the responsibility of safeguarding and maintaining these objects. We make
the objects available for audiences right now and maintain them for the enjoyment
and education of future generations.”
With a work like Tracy’s however, University and outside expertise was necessary to
preserve the artist’s unique vision. According to Dempsey, Cruz to Bishop Oscar Romero, Martyr of El Salvador is one Tracy’s most globally-seen works. Before coming to MOCRA in 2016, the piece
was shown at the Venice Biennale in 1982 and exhibited in Berlin as well. The piece
was also show in Los Angeles, New York City, Washington, D.C., and Houston before
ultimately becoming part of the MOCRA collection.
MOCRA has had a longstanding relationship with Tracy. The artist lent both his support
and his work to the museum in its early years. Dempsey explained that Tracy's support
provided a boost for other artists to show their work at MOCRA.
“Because he came on board and lent us one of his important works, the Triptych that many people have come to identify with MOCRA, other artists felt it was safe
to come on board,” Dempsey said, noting that Tracy was drawn to the way MOCRA approaches
displaying contemporary sacred art and works that consider religious and spiritual
themes. “People recognized that this was a sacred space. A modern sacred space.”
Cruz to Bishop Oscar Romero, Martyr of El Salvador also evokes the idea of sacred rituals. Festooned with milagros —a type of holy charm prevalent in Mexican and Latin American folk Catholicism—the
artwork resembles a processional cross and includes dried flowers to evoke votive
The piece also invites a viewer to meditate on social justice themes, Dempsey explained,
and on the message of justice found in the Gospels as well as in the story of Oscar
Romero himself. A bishop in El Salvador, Romero was an outspoken advocate for the
poor who was assassinated as he celebrated Mass in 1980.
For us as a museum, it reinforces what a museum is about, that we take on the responsibility
of safeguarding and maintaining these objects. We make the objects available for audiences
right now and maintain them for the enjoyment and education of future generations.”
“Romero’s life and death heightened Americans’ awareness of the relationship between
Latin America and the United States and Catholicism,” Dempsey said. Tracy’s artwork,
he continued, has political implications as well as religious meaning. “The 36 milagros
hung from the cross of Oscar Romero might represent private prayers or perhaps the
hopes of a nation.”
While the piece’s politics are complicated, its actual construction proved challenging
for the MOCRA staff and conservator Katherine Langdon. After MOCRA purchased Cruz to Bishop Oscar Romero, Brinker traveled to the work’s location in Houston where he met a crew from the
artist’s studio to disassemble the work’s more than 45 components and prepare it for
the journey to its permanent home in St. Louis. The team noted that the 35-year-old
work needed some attention.
“It’s an interesting study in conservation problems,” said Langdon, an independent
art conservator who consults with museums like MOCRA. Langdon developed the conservation
plan for the Tracy Cruz and has worked with conservation techs in the museum’s gallery on the SLU campus
since August. The conservation is the largest projects she has overseen. “It’s been
a learning experience with everyone involved.”
Unlike a traditional oil painting or bronze sculpture, Tracy’s piece combines dried
flowers, metal, bulls’ horns, paper and wood along with other materials. After years
on display, the piece had suffered minor damage and needed a thorough cleaning to
rid it of dust. Because it is made from so many different materials, determining the
best techniques and approaches to use made the Cruz an especially challenging project.
“Conservation draws on chemistry, it draws on art history,” Brinker said. “Although
it’s one work of art, it’s over 45 elements. It’s complex, it’s contemporary art,
it’s mixed media.”
Because MOCRA is a small, intimate museum space, the only practical option was for
the conservation work to take place in the gallery. The unexpected benefit was that
the museum staff and the public could see Tracy’s work conserved before their eyes.
“I have personally learned things about conservation I’ve never known,” Dempsey said.
For Langdon, the ability to work in public and to engage with visitors through Visible Conservation’s dialogue components has been a special experience that also allows her to advance
conservation as an important element in the museum world.
“In conservation advocacy, you want to be sure the public is aware of the point of
conservation,” Langdon explained. “We try to keep the art pieces around as long as
possible for future generations, first by putting them in a stable environment but
also, when repairs are necessary, by being respectful of their history of use, the
artist's intent and the original materials.” As a result, while Tracy’s piece will
endure for years to come after the project is finished, it won’t look like it did
on the day the artist put his finishing touch on the work. According to Brinker and
Dempsey, that isn’t what Tracy would want for his Cruz anyway.
“Our aim is not to get the piece the way it looked the day it left the artist’s studio,”
Brinker said, “but to let its full power shine through.”
Visible Conservation is ongoing and the piece is slated to be reassembled in early March.
To learn more about the conservation project or to ask a question, join the Visible Conservation conversation on Facebook, Twitter or Instagram. To learn more about MOCRA, visit the museum. Brinker, Dempsey and conservator Langdon
also discussed the project and MOCRA on STL-TV’s “City Corner” in October 2017.
Regular museum hours are Tuesday through Sunday, 11:00 a.m. to 4:00 p.m. Admission
is free, though there is a suggested donation of $5, or $1 for students and children.
Call 314-977-7170 or visit mocra.slu.edu for more information.
Saint Louis University’s Museum of Contemporary Religious Art (MOCRA) is the world’s
first interfaith museum of contemporary religious and spiritual art. Officially opened
in 1993, MOCRA is dedicated to the ongoing dialogue between contemporary artists and
the world’s faith traditions. Located in a spacious chapel that was used for over
35 years by Jesuits studying philosophy at Saint Louis University, MOCRA offers a
unique, meditative setting for the display of its permanent collection and changing
exhibitions. MOCRA’s exhibitions demonstrate the range of contemporary religious and
spiritual artistic expression, presenting the work of artists of regional, national
and international stature. MOCRA also produces MOCRA Voices, a series of conversations with thinkers and practitioners at the intersection of
contemporary art, religion, and spirituality. MOCRA Voices includes audio and video
podcasts available for streaming and download, and public lectures delivered at MOCRA.
Learn more by visiting the museum.
Saint Louis University is a world-class Catholic, Jesuit institution educating nearly
13,000 students on two dynamic, urban campuses - in St. Louis, Missouri, and Madrid,
Spain. Founded in 1818, the University is now celebrating its bicentennial.
With a legacy of innovative academics and research, compassionate health care and
faithful service, Saint Louis University attracts a diverse community of scholars
who push intellectual boundaries in pursuit of creative, meaningful ways to impact
the world, striving to serve a higher purpose and seek a greater good.
Story by Amelia Flood, University Marketing and Communications