A sudden deluge from Hollywood pours forth all things biblical onto an arid, unsuspecting culture. Will biblically based art shows in New York galleries come next? Actually … they already have, and Christians should take note.
Darren Aronofsky, producer of the soon-to-be released “Noah,” curated an art exhibit in New York honoring the protagonist and his apocalyptic, yet hopeful life. It’s clear by his statements that Aronofsky values visual art and considers it an important support and background for his film.
Explaining how he first conceived of the exhibit, he begins with a complaint over trite, “clichéd preconceptions” of Noah from childhood toys and religious art: an “old man with sandals” looking very grim, animals lining up in military ranks and no trouble with the neighbors either. Aronofsky’s vision is very different.
Wanting to bring the pre-diluvial era to life again, Aronofsky’s team faced the challenge all artists face: how to revive a threadbare theme, story or historic event that has been endlessly portrayed in art and create something utterly unique, to make that story entirely new and unexpected to its hearers.
Incorporating visual artists into his research, Aronofsky was “curious what other minds would come up with” in their projections of the cataclysmic event. He enlisted 50 internationally recognized artists to envision a representation of the deluge, each in their own manner and medium.
“They are as individual as each artist’s own fingerprints,” Aronofsky observed. “Each piece resonates with a different mood and message within the Noah story.”
Clearly this exhibit is not merely for publicity in the art world but was a valuable visual and imaginative stimulus for the film’s creators.
Thus “Fountains of the Deep: Visions of Noah and the Flood” opened on March 7 and ends March 29, a day after the film’s nationwide release. New Yorkers, you have just a wee time to find 462 West Broadway and check out two floors of painting, photography, drawing, sculpture and video from some of the most intriguing artists around. Sprinkled about the rooms are snippets of the film itself.
Artists include Howard Finster, Sue Williams, Thomas Thiemeyer, Karen Kilimnik, James Jean, Ugo Rondinone, Mike Nelson, Ward Shelley, Simon Bisley, Jim Lee, Robert Liefeld, Nan Goldin, Jim Woodring, Niko Henrichon, Simon Bisley, graffiti giants Faile and others.
Perhaps in honor of the global reach of the flood, the art alludes to many nationalities. One of the most visually arresting is by Taiwanese American artist James Jean, a piece Aronofsky describes as “beautifully sad, mysterious, scary.”
Jean’s character could be Noah interceding for those about to die or perishing mankind – even the deeps of the earth bleeding profusely. Jean, an award winning cover illustrator and fine artist, adds mystery with contradictory styles and allusions. An archetypal man, deliberately illusive, is rendered as a statue in a fountain. Jean used this figure before but never with such pathos. It is reminiscent of Confucius or Christ himself as he gushes blood while precariously navigating a Ukiyo-e style roiling ocean.
Less disturbing at first glance is Thomas Thiemeyer’s contribution, a favorite among viewers. Theimeyer’s piece is reminiscent of the Victorian artist John Martin with his grand, epic expanse of biblically inspired themes. Viewers are jerked from apparent tranquility and order by Thiemeyer’s title alone: “Alien Nephilim Construct the Ark.” Well, that puts everything in a different perspective. Taking a second look, they’ll note an apelike figure loping toward the ship, odd lights and huge ramps. Yet Theimeyer leaves a beautiful golden Quattrocentro haze and aspect over the landscape.
Comic and graphic artists are highly visible in the Noah art show. Korean-American Jim Lee holds a record as penciler and co-writer of the best-selling comic book of all time (X-Men No. 1, 1991).
Others were lighter, perhaps even a little flippant (they’re not all believers in the show). Carmen Arvizu floated a charming minimalized and highly textured ark in “Dos Elefantes.”
Erik Parker’s flip “Mythmaker” was the most irreverent with a slick, gaudy and promotional style. His “ark” appears as a theatre complex or set complete with plane-spotting lights and stage curtains.
Famed graffiti duo Faile contributed two posters with assorted graphic images in “Never Before, Never Again.” Between bouquets, mourners, a sinking titanic and the thoughts “original very holy moly,” Faile also throw in a little self- promotion. Still the art is visually interesting and thought-provoking if not always on topic.
Not only is art concurrently promoting the film, but the entire process was also originally conceived via a graphic novel.
In 2011 Aronofsky, Ari Handel and Canadian graphic artist Niko Henrichon worked out a graphic novel with an early version of the script, originally published in French in 2011. While Henrichon and co-writer Handel flushed out an entire 256-page graphic novel from the script, Aronofsky pitched the idea to Paramount studios. It was eventually successful, and the story was transformed into flesh and blood – so to speak.
While there are similarities between the film and book, the two grew and developed separately. Henrichon revealed how they hashed out both a “post-apocalyptic and pre-apocalyptic science fiction” atmosphere for the projects.
In spite of the contentious pre-release wars over biblical accuracy, Handel claimed their intent was far from denying biblical narrative or truth.
Handel and Henrichon interviewed recently with Jeffery Renaud of Comic Book Resources, describing their concepts and motives. It is apparent they studied Scripture, the Dead Sea Scrolls and other inspirational texts in their quest.
Wanting to stay true to the Bible narrative, the trio sought to break people’s expectations of “what they think the story is as they look at it again.” Handel describes how some of the elements they used are only implied in the Bible or considered myth – such as Nephilim.
“They are there in some way to elucidate the feeling that we were feeling from the text,” they said.
Their take on Noah? He’s “a tortured hero” with very difficult options.
“You don’t know why Noah gets drunk and naked and everything in the Bible,” Handel observes and hopes their story comes up with a plausible enough explanation for it.
In spite of controversy and darker themes the film takes on, Handel describes the filmmakers struggling with how to present Noah from Hollywood.
“Hope is very central to this story and the Noah story,” he said. “And so is hopelessness. The Creator isn’t going to wipe out all of these things that he made unless he really felt that they were beyond redemption, and yet, he saved this small spark. It is both hope and hopelessness together.”
And even that’s not the end of art related events, promotions and inspiration behind the “Noah” film. Wait, there’s more.
Producer Aronofsky, obviously a connoisseur and supporter of the arts, ended his statement for the exhibit with an invitation to viewers and artists: “Now it is your turn: The story is yours to envision.”
See more about the Noah art show on the official site.
Thanks: NoahMovie.com / PageSix.com / Fountains of the Deep / Visionaireworld.com / www.slashfilm.com / comicbookresources / firstshowing.net.
