See a different side of ‘pop art nun’ Corita Kent — as chronicler of LA through her photographs

A pop artist, educator and nun who later left the Catholic Church, Kent’s colorful silkscreen prints gained attention during challenging moments in L.A.’s past, from the 1960s civil rights movement to apartheid.

Kent died in 1986, but her powerful messages of social justice have perhaps at no time in Los Angeles history been clearer. And now her work is resonating with a new generation of activists and art enthusiasts, with a celebration of her life today at the Marciano Art Foundation, also the site of a current exhibition of her photographs.

“In hard times, we always go back to the poets to tell us how to live,” said Hanneke Skerath, curator of the exhibit Corita Kent: The Sorcery of Images, open through January 24 at the Marciano Art Foundation in Mid-Wilshire.

A print by Corita Kent from 1963, titled "luke 2.14, 51"

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Courtesy Corita Art Center

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“We go back to Corita, to… artists who always dealt with these bigger questions and were part of a community and [who] built community.”

From religious order to the world of Pop Art

Largely self-taught, Kent started making her signature silkscreen prints while teaching at the arts department at Immaculate Heart College Arts by Griffith Park for nearly two decades until the late 1960s. Her style evolved to become part of the pop art movement, pulling inspiration from the mundane (cereal boxes emblazoned with “The best to you each morning”) to the divine (“be of love”) to the political (“stop the bombing”).

Her silkscreen prints have been shown internationally, the exhibit at Marciano Art Foundation focuses on Kent’s work as a photographer — and a chronicler of Los Angeles through her teaching at the arts department at Immaculate Heart College.

Chronicler of L.A. as a photographer

Distorted ad, source material, 1967, 35 mm slide.

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Courtesy Corita Art Center

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Student project, Immaculate Heart College, ca. 1966, 35 mm slide

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Courtesy Corita Art Center

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“Of course, she became famous for her silk screens and prints, but she would use these [photographic] images all the time in the classroom, but also in her public talks all around the country,” Skerath said of Kent’s photography. Skerath noted that while Kent only had an analog slide carousel to show her work, the exhibit at the Marciano took some liberties to make her photographs feel larger than life.

To take in the full exhibit at the Marciano, Skerath set up bean bag chairs for visitors to sit in the unique space (the museum is housed in a former Masonic temple). Kent left over 15,000 slides in her archive that the Corita Art Center digitized. “It's like this treasure trove,” Skerath said. “Those images have been used as illustrations but never really presented in an exhibition,” she said. Skerath added that she felt “close to Corita” in selecting the show’s images. “I was able to make a selection of over a thousand images that, for me, really represent her way of seeing.”

Installation view of Corita Kent: The Sorcery of Images at Marciano Art Foundation.

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Michael Anthony Hernandez

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Courtesy Marciano Art Foundation

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Nellie Scott runs the Corita Art Center, which was founded in 1997 but recently relocated to a new space in the Arts District. She hopes that the Maricano exhibit helps shed more light on who Kent was as a person as well as an artist. “We know that [photography] is part of her process. But for people to see the intimacy maybe behind the scenes of what it was like to be a nun, that they're human and … if [Kent] was alive today, she'd wear orange and she'd laugh and she'd go grocery shopping.”

Amongst the more than one thousand images projected in immersive format at the Marciano exhibit are L.A. landmarks both small and large, from everyday sites like the Market Basket (now Lazy Acres in Los Feliz) all the way to Simon Rodia’s Watts Towers installation.

A print by Corita Kent from 1969, titled "king's dream"

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Arthur Evans

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Courtesy Corita Art Center

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Scott sees the photographs and Kent’s teachings around Los Angeles with her students as a social justice tool. “Looking and seeing are not the same thing,” she said. “Sometimes taking the whole world [in] is really hard at once. But if you can start with the square foot you're standing in, you can start with your neighbor, if you can start with your street – it's like, okay, I can start taking everything in.”

Corita Day on Saturday

Corita Kent

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Courtesy Corita Art Center

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The Corita Art Center is one of the few art spaces in the country dedicated to a single female artist and the new space, which exhibits Kent’s work and is responsible for maintaining her archive, is open once a week to the public. Scott has been working closely with the Marciano Art Foundation on the new show. “When the invitation from Hanneke [came in] …especially with everything that's happening in the world, to be able to amplify messages of hope and peace and love– how could we not share that?” Scott said.

Skerath and Scott are aware that Kent isn’t a household name like her contemporaries Andy Warhol, Roy Lichtenstein, and Ed Ruscha, but they hope these new efforts bring more attention to someone who’s been overlooked in the pop art canon. “There's been great surveys of Corita’s work, but oh gosh, is a really deep retrospective overdue,” Scott said. An upcoming documentary from filmmaker and former Corita Art Center consultant Jillian Schultz,You Should Never Blink, is also looking to do just that when it hits festivals next year.

Kent “absolutely deserves a cradle-to-grave biographical documentary but beyond that, it's really important for us to show how her legacy lives on and how influential she is specifically for artists living and working and practicing now,” Schultz said.