Making Strange: Sacred Imagery and the Self

Exhibition Info
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Walter & Leonore Annenberg Gallery
Samuel M.V. Hamilton Building
Curated by
Han McCoy, Rhoden Curatorial Assistant
"Making Strange: Sacred Imagery and the Self" as an exhibition is an exercise in close viewing, recognizing intentional distortion and reinterpretation of traditional sacred imagery as a means of fostering introspection and meaningful dialogue based on one’s own lived experience.

This exhibition features paintings, sculpture, and works on paper in PAFA’S collection that highlights the art historical concept of "making strange," a term coined by Dr. Marcia Hall in her book the Sacred Image. The term describes a Counter Reformation (1545-1648) artistic movement where artists used distortion as a stylistic signature and an interactive tool. The implementation of "making strange" as an artistic practice encourages longer, closer viewing, with the goal of inspiring emotion and deep self-reflection. Making Strange as an exhibition is an exercise in close viewing, recognizing intentional distortion and reinterpretation of traditional sacred imagery across cultures as a means of fostering introspection and meaningful dialogue based on one’s own lived experience. 

Want to learn more about this concept? Explore the exhibition with the "Making Strange: An Introduction to Close Viewing" pamphlet and deepen your understanding of this artistic technique.

This exhibition features artworks from the collections of PAFA and the Brodsky Center.

PLAN YOUR VISIT

Featured image: Anne Minich, Vermillion, 1991, mixed media including polychrome wood and metal, 29 ¾ x 20 x 1 ¾.

Moe A. Brooker, The Soul is the Body of the Spirit, 1989, oil on canvas, 72 1/8 x 54 1/16 in. The Harold A. and Ann R. Sorgenti Collection of Contemporary African-American Art © 1989 Moe A. Brooker, 2004.20.11.
Moe A. Brooker, The Soul is the Body of the Spirit, 1989, oil on canvas, 72 1/8 x 54 1/16 in. The Harold A. and Ann R. Sorgenti Collection of Contemporary African-American Art © 1989 Moe A. Brooker, 2004.20.11.
Anne Minich, Annunciation with Seagulls, 1990-1991, graphite and watercolor on paper, 20 1/2 x 29, 2016.6.4. Museum Purchase © artist or artist's estate, 2016.6.4.
Anne Minich, Annunciation with Seagulls, 1990-1991, graphite and watercolor on paper, 20 1/2 x 29, 2016.6.4. Museum Purchase © artist or artist's estate, 2016.6.4.
Umberto Romano, Ecce Homo, 1947, oil on canvas, 40 x 28 1/2 in. Gift of Dr. and Mrs. Abraham J. Rosenfeld in honor of their son, Richard © artist or artist's estate, 1953.17.
Umberto Romano, Ecce Homo, 1947, oil on canvas, 40 x 28 1/2 in. Gift of Dr. and Mrs. Abraham J. Rosenfeld in honor of their son, Richard © artist or artist's estate, 1953.17.
Yvonne Muinde, Blind Faith, 2002, oil on canvas, 29 1/2 x 47 1/2 in. Harold A. and Ann R. Sorgenti Fund for African American Art © artist or artist's estate, 2009.22.3.
Yvonne Muinde, Blind Faith, 2002, oil on canvas, 29 1/2 x 47 1/2 in. Harold A. and Ann R. Sorgenti Fund for African American Art © artist or artist's estate, 2009.22.3.
William Snaith. Cathedral Architect, 1950, oil on masonite, 30 x 36 in. John Lambert Fund © artist or artist's estate, 1951.13.
William Snaith. Cathedral Architect, 1950, oil on masonite, 30 x 36 in. John Lambert Fund © artist or artist's estate, 1951.13.
Anne Minich, Vermillion, 1991, mixed media including polychrome wood and metal, 29 ¾ x 20 x 1 ¾
Anne Minich, Vermillion, 1991, mixed media including polychrome wood and metal, 29 ¾ x 20 x 1 ¾