Materializing Mormonism: An Exploration of Identity and Community
by Francis LaBianca
Materializing Mormonism, a curated collection of contemporary artwork relevant to the LDS church and community, is a combination of statements on identity, community, and, of course, faith. With a mix of mediums; from paintings to prints to sculptures, this exhibit shows that LDS art is not just one thing. As a native Arizonan, now New York transplant, who grew up visiting the Mesa Arts Center (home to the Mesa Contemporary Arts Museum where the exhibit is housed), the location of the collection has particular significance to me. Experiencing this exhibit helped me to connect with and better understand the LDS faith, which I have grown up adjacent to as a granddaughter of Richard and Claudia Bushman, and also just appealed to me as a lover of art.
“As I explored this exhibit, I took note of the wide variety of ways in which one can learn about cultures and religions other than their own. I was impressed by the curation of such diverse pieces, each with its own message, meaning, and purpose.”
The number one word that came to my mind when I finished viewing Materializing Mormonism was identity. Many of the pieces in the collection explore the artist’s own connection with the LDS Church, their communities, or themselves. Wholly Divine, a collection of ceramic plates by Maddison Tenney, represents the challenges of LGBTQ+ members of the Church and the holiness of the individual. One plate reads “I did everything I was supposed to do'' while another says, “I gave my life.” This emotional piece provided a look into the struggles of this community and showed the importance of representation for this group. Another piece, The Spirit Is Willing But the Flesh Is Weak by Madyson Ysagaga, connects her experience with chronic illness to the story of Eve. Portraying something I have very little knowledge of (chronic illness) alongside a commonly known Bible story gave me insight into her life that I don’t know how I could have gotten otherwise. Throughout the collection many other pieces highlight other identities; including many different ethnicities, refugee, mother, and feminist.
While identity was one major theme of the collection, community was another. The art brings people who may not be a part of the LDS faith in and teaches them about the uniqueness and togetherness of this faith. Daniel George’s Passion and Doctrine pieces as well as Susan Krueger-Barber’s Jello Heads focused on food. George’s prints depicted a fluffy, gelatinous dish and buttery rolls, staples from LDS cookbooks. Krueger-Barber’s human forms with jello molds for heads is a comedic take on the commonly used ingredient. I myself have fond memories of eating Granny Bushman’s “pink stuff”, a mix of red jello, canned fruit, and sour cream. Untitled Congregation by Stephanie Leitch is a large 3-D piece made of the plastic cups used by the LDS Church for sacrament. Without background information, this may just seem like a pretty display to most people, but for members of the LDS Church these cups are a very familiar sight. Pieces like this are a great way to learn about another community and understand their practices and symbolism.
As I explored this exhibit, I took note of the wide variety of ways in which one can learn about cultures and religions other than their own. I was impressed by the curation of such diverse pieces, each with its own message, meaning, and purpose. I felt lucky to have had this learning experience and to have been able to view the collection almost as if I were back home in Arizona through the virtual tour. If you have the opportunity to see Materializing Mormonism, either in-person or virtually, I highly recommend it.
— July 15, 2024
Gallery images credit: Angela Mason Photography
Frances LaBianca is a May 2024 graduate of the University of Arizona where she studied journalism, public relations, and law. She is currently looking for her next job in New York City.