Our digital age has taught us to consume content quickly rather than thoughtfully. Even fine art. People can go to a museum, spend hours looking at hundreds of works, rushing through all the galleries, and walk out exhausted, not really having seen anything. I am ashamed to say that this has sometimes been my approach. I’m traveling, I pay a $15 admission fee to the local art museum, and I have three hours to explore; to get the most out of my money, I figure, I want to see as much as possible within that time frame. Where permitted, I snap photos of the pieces I want to spend more time with later when I get home—but then they’re just pixels. I miss out on experiencing their materiality.
The same principle is often at play with buffets too: we pay a set price for access to a variety of foods, so naturally, we want to sample a little bit of everything, overstuffing ourselves so we can feel like we took full advantage of the “unlimited” perk. But as my wise mother says: You’re not paying to feel stuffed; you’re paying to feel satisfied. Go ahead and survey the spread, maybe try a spoonful of whichever dishes look enticing, but then go back for those few that you want a heartier helping of. That’s when you can really savor what you’re eating.
My mom’s advice translates well, I think, to museum going.
In 2008 art-world outsider Phil Terry discovered how nourishing, how energizing, it can be to actually spend time with a work of art for more than the standard eight seconds. In 2009 he officially launched Slow Art Day, a global, annual event whose mission is to help people discover the joy of looking at and loving art. It’s set for April 8 this year—a week from Saturday. The concept is simple: Go to a museum or gallery, look at five different works of art for ten minutes each, and discuss the experience with other participants. One hundred seventy venues (and counting) have signed up as hosts this year. One, the Rubin Museum, has published three tips for those who think, “What do I do while I’m looking?” Also check out the Artsy editorial “How Long Do You Need to Look at a Work of Art to Get It?”
Another resource is the Visual Literacy website of the Toledo Museum of Art. It outlines a six-step process for engaging with art called the Art of Seeing Art™: look, observe, see, describe, analyze, interpret. It elucidates the difference between looking and seeing (likening it to the difference between skimming and reading a text) and provides a vocabulary for discussion, covering the elements of art and the principles of design. I recommend this website to anyone who has ever said (or been told), “I don’t know what I’m supposed to be looking for.” Continue reading “Slow Art Day: April 8, 2017”→
The Swiss artist Albert Chavaz (1907–1990) is best known for his paintings, but he also worked in mosaic, ceramics, engraving, and stained glass. In 1963 the parish of Vercorin, a small village in the Swiss Alps, tore down the nave of its twelfth-century Saint Boniface Church, leaving the bell tower and chancel intact. Beside this site they built a new church, commissioning Chavaz to design and make a set of stained glass windows on the Stations of the Cross.
These windows were installed in 1965, a total length of about forty feet, running in a horizontal band above the entryway. They tell the story of Christ’s journey using large swaths of vibrant color to make up the figures, set against a ground of mainly grays and blues. For the last station, Chavaz chose to replace the traditional Burial of Christ with the Resurrection.
There are many people and organizations committed to integrating faith and the arts, and they often organize opportunities for public participation. Here are some such opportunities being offered this spring and summer, organized by date. The last one, a weeklong course taught by David Taylor, looks especially appealing to me and my context, and I’m considering registering.
A few early-bird registration/application deadlines are coming up very soon, on March 31, so give these a gander sooner than later. Click on the links for information on schedules/syllabi, speakers, accommodations, and fee breakdowns. Room and board are not included in the cost quotes I’ve listed unless specifically noted.
If you’re reading this post sometime after spring 2017, or the application deadlines are too tight for you, you’ll be pleased to know that some of these events occur yearly, and if not, you’re sure to find similar ones. Check out the websites of the organizing bodies to see what they have going on.
Title:“Art and Theology” (course) Dates: March 26–29, 2017 Location: Ripon College Cuddesdon, Oxford, England Organizer:Art and Christianity Enquiry (ACE) Cost: £225 (~ $280 US) (includes room and board) Instructors: Christopher Irvine; Alison Milbank; Sophie Hacker; Stephen Stavrou; Laura Moffatt Description: “This short course is designed to give participants the opportunity to both engage with Christian art and to reflect through class presentations and discussion how art is perceived. Each day will balance theoretical input with visits to see art in churches, galleries, and chapels in Oxford. We will examine the contexts in which Christian art is viewed, suggest ways of how we may reflect theologically on contemporary art, and look at the place of art in churches within its architectural and liturgical context.” (I’m intrigued by the lecture title “Museums and Galleries as a Theological Resource”!)
Title:“Lux Ecclesiae: The Light of the Church” (lecture series) Dates: April 25–29, 2017 Location: Paraclete Retreat House, Cape Cod Bay, Massachusetts, USA Organizer:Community of Jesus Speakers: Msgr. Timothy Verdon; Filippo Rossi Cost: $1,000 (includes room and board; single-lecture options available) Description: “Practically from the beginning of its history, the Church has used architecture and the visual arts to express its life, investing thought, creative energies and resources. The reasons for this choice are theological and pastoral, but also anthropological: human beings want to ‘see’, are frustrated if they cannot see, define ‘seeing’ as understanding (as when, grasping a point, we say, ‘I see’), and desire above all things to see the God who, invisible in himself, became visible in Jesus Christ.” Monsignor Timothy Verdon, academic director of the Mount Tabor Ecumenical Centre for Art and Spirituality in Barga, Italy, will develop these themes in a series of seven lectures, and sacred artist Filippo Rossi will give a talk as well.
Title:Movies and Meaning Festival Dates: April 27–30, 2017 Location: KiMo Theatre, Albuquerque, New Mexico, USA Organizer:The Porch Cost: $189 Speakers: Alice Walker; Mona Haydar; Gareth Higgins; Brian McLaren; Malidoma Somé Description: The third annual Movies and Meaning Festival, an interfaith initiative, is centered on the theme “Hope in the Dark.” Over one weekend, participants will be inspired and challenged on this theme by artists and activists who work at the intersection of creativity, peace, spirituality, and social change. Films will serve as touchstones throughout the event; screenings include Pete’s Dragon; The Red Balloon; Mary andMax; Alice Walker: Beauty in Truth; Embrace of the Serpent; Reds; I Am Belfast; The ColorPurple; and more. Participants will walk away with a renewed spirit for social justice and tools for community healing. Continue reading “Upcoming courses, workshops, conferences”→
Still wet behind the ears, he’s Spirit-pushed
up Jordan’s banks into the wilderness.
Angels hover praying ’round his head.
Animals couch against his knees and ankles
intuiting a better master. The Man
in the middle—new Adam in old Eden—
is up against it, matched with the ancient
Adversary. For forty days and nights
he tests the baptismal blessing and proves to his dismay
the Man is made of sterner stuff than Adam:
the Man will choose to be the Son God made him.
Mark dedicates a spare two verses to this initiatory event in the life of Christ: the forty days of temptation he endured immediately following his baptism: “The Spirit immediately drove him out into the wilderness. And he was in the wilderness forty days, being tempted by Satan. And he was with the wild animals, and the angels were ministering to him” (Mark 1:12–13, ESV; cf. Matthew 4:1–11, Luke 4:1–13).
I’m intrigued by Mark’s use of the word driven (ekballō) to describe the manner in which the Spirit imparts motion to Christ. Whereas Matthew and Luke use the gentler led (anagō), Mark implies something more forceful: ejected, cast forth, hurled. In his idiomatic translation of the Bible, The Message, Eugene H. Peterson uses push: “At once, this same Spirit pushed Jesus out into the wild” (emphasis mine).
So the same Spirit who had just alighted on Jesus in the waters of the Jordan, presiding over God’s pronouncement that “You are my beloved Son; with you I am well pleased” (Mark 1:11), now pushes Jesus into the Judean desert, away from civilization. Why? So that in the quiet, he could get to better know himself and the Father, to better discern the task to which he had been called. This process necessarily involved doing battle with the prospects of other paths, other identities.
“Turn these stones into bread.” “Jump; let’s see if God saves you.” “Worship me; I’ll give you the kingdom of earth.”
Satan tries to draw Jesus from a messiahship of self-sacrifice to a messiahship of power. Performing miracles for his own benefit, to avoid any discomfort or pain in life; performing miracles for show, like a magician, to impress the masses; becoming an earthly king, with political control and dominion—these are all temptations Jesus would face again. Here he has the opportunity to confront them head-on in preparation for his imminent ministry to the Israelites. Over this period of forty days, Jesus solidifies his mission, rejecting the vision of himself and his life that Satan lays out for him. Instead of gratification, pride, and riches, Jesus chooses purity, humility, and poverty. Continue reading “Voices in the desert—whose blessing will we heed?”→
As you may have noticed, I’ve had to ease up lately on my self-imposed one-post-a-week rule to accommodate other projects. For February and March, I’ve been teaching an adult Sunday school course at my church called “Art and the Church: Seeing the Sacred in Global Christian Art”; I have a really great group of people exploring the topic with me, and I’ve enjoyed seeing which images they respond to most. I’ve also been invited by three separate entities to produce content on their platforms this spring: by a missions organization, to curate an online gallery of Passion art; by a divinity school, to write a post for its blog; and by a Christian ministry at Brown University, to deliver a talk to undergraduates. Moreover, I just returned from a trip to California, where I attended a Biola University–sponsored art symposium called “Art in a Postsecular Age”; I got to meet Matthew Milliner and Jonathan Anderson and hear from a panel of other distinguished speakers.
So, while I had every intention of getting this list out last week to coincide with the start of Lent, slide preparations, permissions e-mails, and travels have claimed my focus. I regret that all this revving up has come during a season dedicated to slowing down. Please forgive the slackness, but I’ve decided to practice the “holy pause” for the next forty days (through Easter Sunday). To fast from my obsession with productivity. I will still honor my obligation to those who have commissioned me for specific tasks, but I will be lightening up on the frequency of blog posts. In lieu of Lent-related Art & Theology content, I lift up the following supports for your journey.
Online devotional with visual art and music: Each Lenten season since 2012, Kevin Greene, an associate pastor at West End Presbyterian Church in Richmond, Virginia, has published an online devotional that comprises for each day an art image, a short scripture reading, a prayer, and a music file. I absolutely love this model, with its spare style: because the entries are light on text, they invite silence, contemplation, seeing, listening. Greene’s image selection is stellar. He doesn’t go for the obvious choices but rather aims at something more atmospheric, more slant. Among the painted subjects, for example, you’ll find a stairway, a storm, a dancer, a reaper; day 1, Ash Wednesday, was a sailboat on troubled waters (pictured below). Fine-art viewing isn’t something that’s typically a part of Protestant devotional practice, so in response to questions he’s received, Greene has described how art operates on the imagination and the spirit. I’ve been greatly blessed moving through the first week of Lent with this companion, and I can’t wait to dive into the backlist entries later on. You can sign up via e-mail in the left sidebar, or simply bookmark the website and visit it each morning.
Lent Photo Challenge: The UK-based Bible Society invites people to take one photo per day throughout the season based on rotating themes (e.g., wilderness, hospitality, ask), then share them on social media using the hashtag #LentChallenge. Today is the sixth day of Lent (Sundays are excluded from the traditional forty-day count), and the assigned theme is “fear.”
Essays, short stories, poems, art: Founded in 1989, Image journal seeks “to demonstrate the continued vitality and diversity of contemporary art and literature that engage with the religious traditions of Western culture.” This Lent they’ve curated a selection of literary essays, short stories, poems, and art images from their back issues and their blog, Good Letters, that relate to the season, as well as to Easter. I especially enjoyed “Jeffrey Mongrain: An Iconography of Eloquence.” A few selections might be accessible only to subscribers (you can subscribe here; you won’t be disappointed!). Also available: the book God For Us: Rediscovering the Meaning of Lent and Easter, a full-color devotional with contributions by some of Image’s favorites. Lent is not about becoming lost in our brokenness, the description says, but about cleansing the palate so that we can taste life more fully.
“Lent Is Here to Throw Us Off Again: Finding healing in repetition, community, and art” by W. David O. Taylor: An excellent introduction to Lent, addressing unselfing, dying a good death, opening up vacant space, and praying with the eyes. This Christianity Today article is adapted from the foreword Taylor wrote for artist James B. Janknegt’s new book, Lenten Meditations, which features forty of Janknegt’s paintings on the parables of Jesus, along with written reflections. Artists like Janknegt, Taylor writes, “fix before us an image of a world broken by our own doing, but not abandoned by God. They question our habits of sight. They arrest our attention. See this image. See it for the first time, again. See what has become hidden and distorted. See the neglected things. See the small but good things. It is in this way that artists can rescue us from what the poet Samuel Taylor Coleridge calls the ‘film of familiarity’ and the ‘lethargy of custom.’”
Stations of the Cross in Washington, DC: This Lent, Dr. Aaron Rosen and the Rev. Dr. Catriona Laing of the Church of the Epiphany have organized a combination pilgrimage and art exhibition, featuring works located throughout Washington, DC, in places both sacred and secular. Mostly contemporary, some newly commissioned, the works include George Segal’s Depression Bread Line, the Vietnam Women’s Memorial by Glenna Goodacre, Barnett Newman’s Stations cycle at the National Gallery of Art, a video installation at First Congregational United Church of Christ by Leni Diner Dothan, and more. Participants can follow the stations by downloading the app “Alight: Art and the Sacred,” which offers maps and audio commentary (my friend Peggy Parker is a contributor!). (If you don’t have a smartphone, you can view the maps and listen to the commentary through a browser by following the primary link above.) Also check out the accompanying devotional guide.
Lent by The Brilliance: This 2012 EP by The Brilliance, a duo comprising David Gungor and John Arndt, has seven tracks: “Dust We Are,”“Now and at the Hour of Our Death” (the rerelease on Brother removes the invocation to Mary), “Dayspring of Life,”“Does Your Heart Break?,” “Holy Communion,” “Violent Loving God,” and “Have You Forsaken Me?” Each one is a beautiful prayer, the words organized around a string quartet. Some take the shape of praise, others lament. God is supplicated for peace, mercy, light. The first track well captures the spirit of Lent: “Be still my soul and let it go, just let it go.” Click here to read a 2015 Hallels interview with The Brilliance, or here to listen to a podcast interview by David Santistevan.
Members of the majority white culture may not realize it, but white Jesus is a fraught symbol. According to black theologian Major J. Jones, when European colonialists came to Africa and began treating its people as less than human because of their color, it became “psychologically impossible” for Africans not to have problems with God’s color. How could they ever conceive of a God who looked just like their oppressor? This legacy of black oppression, of course, traveled to the Americas, where white Jesus is omnipresent in visual culture.
In her book Painting the Gospel: Black Public Art and Religion in Chicago (University of Illinois Press, 2016), art historian Kymberly N. Pinder unpacks some of the ways that twentieth- and twenty-first-century Christians have countered the dominance of white Jesus with alternative sacred imagery that is black-affirming. Lavishly illustrated with sixty color photographs and eight black-and-whites, the book explores African American religious images—murals, mosaics, stained glass, sculptures, even T-shirt designs—from Chicago churches and their neighborhoods between 1904 and the present, focusing on their intersection with the social, political, and theological climates of the times. The image of a black Christ, Pinder argues, participated in some of the most significant movements in black history, including gospel music, sermon broadcasts/televangelism, the Chicago Black Renaissance, the civil rights movement, Black Liberation Theology, and the Mural Movement. The stream of influence flowed both ways, as each church’s preaching and outreach, musical, and visual cultures fed into one another.
A collection of case studies rather than a comprehensive guide, Painting the Gospel features churches whose pastors consciously nurtured a strong visual culture. “These sites,” Pinder writes, “enable me to chart how the arts interact with each other in the performance of black belief in each space, explain how empathetic realism structures these interactions for a variety of publics, and observe how this public art sits within a larger history of mural histories” (2). “Empathetic realism” is a term Pinder develops throughout the book as she considers how religious images have the power to assert political agendas of equality and humanity and thereby empower viewers, providing social and spiritual uplift. “Christ’s own difference, for which he was persecuted, becomes a source of empathy and identity for the African American,” she writes (8).
Christ as a dreadlocked black man on the cross, hip-hop youth kneeling at his feet, and Mary as an African woman in traditional Nigerian dress activate personal narratives for a black audience where private and public, the personal and the holy, the real and the represented, all meld, allowing for a spiritually transformative experience. (22–23)
The book covers works of art that have been largely excluded from art historical, theological, and sociological scholarship because of their racial or religious particularity. Working at the confluence of these disciplines, Pinder is concerned not with the artistic merit of the images but rather how they make meaning, how they “work” for an individual or a community—and especially how they interacted with and impacted certain milestones in black history. Her approach, her angle of inquiry, is much in the vein of David Morgan and Sally Promey.