科丽塔·肯特：修女波普艺术家
作者：乔安娜·摩尔海德
来源：《英语世界》2020年第12期考研政治>适者生存英语
She shook up the church and the art world with her expressive， exuberant and boisterous work.她的作品色彩絢丽，活力四射，极具表现力，在宗教界及艺术界都引起了轰动。
On a summer’s day in 1962 a nun in her mid-40s went to e Andy Warhol’s breakthrough exhibition of soup can paintings; later， she recalled that “coming home you saw everything like Andy Warhol”. It was a minal moment in the transformation of Sister Corita Kent from a convent school teacher into the artist who became known as the Pop Art nun.
Among the many original， mould-breaking， stand-alone characters the art world has produced， Kent more than holds her own. A fully habited nun， complete with veil and wimple， her monochrome outfit was a stark contrast to the vibrancy of her colour-charged silkscreens. This year， 100 years on from her birth， that is being remembered with an exhibition of her work at Ditchling Muum of Art and Craft in Susx.make up
According to Donna Steele， the exhibition’s curator， Kent’s work is “as important
万圣节英文手抄报>enabled>庆祝六一儿童节图片as that of Warhol” to the Pop Art movement. Kent ud advertising slogans and song lyrics， as well as biblical vers and quotes from literature， to create vibrant silkscreens with trenchant political messages about racism， poverty and injustice.impressionist
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英语单词大全 The Ditchling exhibition covers Kent’s output across two decades， 1952-72， probably her most important period in terms of her story as well as in her output. Born Frances Kent in November 1918， the fifth of six children， her strongly Catholic family moved from Iowa to Hollywood in 1923. At school there， her art work was praid for its originality; and at the age of 18 she entered the order of nuns who school she had attended， the Sisters of the Immaculate Heart of Mary. There， in their convent in Los Angeles， her artistic talent was picked up by one of the nior nuns， Sister Magdalene Mary， who encouraged Kent to train as an art teacher. She went on to work in the order’s college， a liberal arts institution well known for its avant-garde views， and became head of its art department in 1964.英语6级答案
Los Angeles in the 60s was an exciting place at a momentous time： Kent’s work br
ought contact with figures such as filmmaker Alfred Hitchcock， compor John Cage， architect Buckminster Fuller， and designers Charles and Ray Eames， who became her clo friends and champions. Her work became more prominent， and in the winter of 1967 she was featured on the cover of Newsweek—‘The Nun： Going Modern’， read the strapline. The nun was indeed going modern; and for a while， it emed the institution she was part of， the Catholic Church， was going modern， too. In 1962—the same year Kent saw Warhol’s soup cans—Pope John XXIII was convening Vatican II， the great reforming council that many liberal Catholics， like Kent and her community， thought would bring the Latin-using， medieval-rooted church into the 20th century， making it relevant and liberal; Christian， as Kent would have en it， for the 20th century.
It was against the backdrop of this great reforming movement taking place in Rome， alongside the ismic changes in popular culture of the cular 60s， that Kent embarked on her most exhilarating work. Tame It’s Not （1966） quotes from Winnie the Pooh and Kierkegaard， as well as the ad slogan for a men’s cologne， and includes an
aeroplane which many e as a reference to a guardian angel; “Somebody up there likes us”， reads one of its hopeful messages. More political is Stop the Bombing （1967）， her protest against Vietnam， with blue text against an angry red background; more religious is Enriched Bread （1965）， which us an everyday loaf （“Helps build strong bodies 12 ways”） to reference the Catholic Mass， and the importance of the Eucharist. Words sing out of Kent’s silkscreens， their simplicity often belying the complexity of their messages.
It’s as a nun that Kent is at her most intriguing. Lenore Dowling， 86， was a nun of the Immaculate Heart of Mary order at the same time as Kent and worked with her at the college; though a generation apart， she says the two of them shared a similar background. “Like Corita， I’d been at school at the convent， and I was influenced， and Corita quite probably was， too， by the fact that the nuns who taught us were so young， in their early 20s， and they were so enthusiastic; joining the order emed a very attractive future.”
Like Kent， Dowling remembers the excitement around Vatican II， and the hopes for lasting， liberal changes in the Catholic Church. But the Archbishop of Los Angeles， Cardinal James McIntyre， was a diehard traditionalist who disapproved strongly of the views of the nuns of Kent’s order， and particularly of the art of Kent herlf. He took particular offence to a piece called the juiciest tomato of all （1964） in which Kent likes the Virgin Mary to a luscious tomato. The following year， McIntyre wrote to the head of the order to complain that “The Christmas cards designed by your art department and the sisters are an affront to me and a scandal to the archdioce.
