New Every Morning (Artful Devotion)

Enclosed Field with Rising Sun by Vincent van Gogh
Vincent van Gogh (Dutch, 1853–1890), Enclosed Field with Rising Sun, 1889. Oil on canvas. Private collection.

The steadfast love of the Lord never ceases;
his mercies never come to an end;
they are new every morning;
great is your faithfulness.

—Lamentations 3:22–23

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SONG: “Great Is Thy Faithfulness” | Words by Thomas O. Chisholm, 1923 | Music by William Marion Runyan, 1923 | Arranged and performed by Sam JC Lee on bass, with Gabriela Martina on vocals, 2013


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 8, cycle B, click here.

Consenses: An artistic game of Telephone

Consenses

Consenses is a global, multidisciplinary arts initiative developed by singer-songwriter Sally Taylor in which participants contribute to “interpretive chains,” responding to an assigned artwork in their own medium. The aim is to promote a more expansive view of the world through the engagement of all five senses and through exposure to diverse ways of seeing, as well as to foster connectedness across geographic divides. I found out about the project two years ago when proofreading herbalist Holly Bellebuono’s The Healing Kitchen: she said she was invited to interpret a photograph of a woman reclining in the sunshine as a tea blend—which was in turn brewed and enjoyed by another artist, who interpreted the blend as a short film.

Launched in 2012, the initial series of chains went like this: Taylor collected twenty-two photographs, each by a different photographer, and then commissioned twenty-two musicians to write a song based on one of those photos. Those songs were then given to dancers to interpret as movement, and then recordings of those dances were given to painters, whose painted responses were given to perfumers, who extracted the essence of the paintings and gave the resultant perfumes to poets, whose poems were given to chefs, whose culinary creations were given to sculptors. And no artist in this chain was allowed to see more than one link back. The final chains were then given to set designers, who created a physical space within which all the art could live. These twenty-two sets opened to the public in August 2014 and toured for four months, attracting more than seven thousand attendees.

Here’s a video excerpt of one of the chains:

Consenses continues, in part through a “Monthly Challenge” posted on the website—a catalytic work of art that invites creative responses. This month’s is a photograph titled Dreamhouse. The media in past months have been very diverse, including a woven basket, a graffitied wall, a comic strip, and a LEGO set.

Dream House
Dreamhouse, a photograph by Jane Rosemont, is the prompt for Consenses’s June 2018 Monthly Challenge. Rosemont writes, “I recently photographed a remote town on the Salton Sea, in California. Many homes are abandoned and trashed. Someone lovingly placed items of comfort in one of the dilapidated homes, and it almost brought me to tears.”

Over the past few years, primary and secondary schools and colleges have approached Taylor, wanting to incorporate Consenses into their curricula, so she has been hard at work designing and overseeing those efforts. The fruits of one such partnership are about to go on display at MASS MoCA’s Kidspace in North Adams, Massachusetts, where “Come to Your Senses: Art to See, Hear, Smell, Taste, and Touch” opens tomorrow (June 23) and runs through May 27, 2019. In this exhibition, paintings by fifth-grade students in North Adams and Northern Berkshire schools will be on display, which respond to the prompt of either “Joy” or “Fear.”

Taylor met with these kids last year and guided them through first steps, telling them to close their eyes with the blank piece of paper in front of them and ask themselves, “What would fear taste like if it were a flavor? What would it feel like as a texture? What would it be as a weather system? What would it look like if it were a painting?” She did the same with “joy.”

One child wrote, “Fear is sticky. It is large rocks. It is fire. It is the sound of thunder. It is the last petal falling. My pain of this is fear of darkness and large spiders. This is something trying to escape. Trying to escape from terror.” Another wrote of joy: “If joy were a flavor it would be cotton candy. It would be pink and light and smell like lemons on a sunny day. It would be confetti, balloons, night mist and starlight in the night sky. My painting is a starry night with confetti over it. It gives me joy because it reminds me of bright colors in the world.” (Read more about Taylor’s process with the kids here.)

After the kids finished their paintings, Taylor enlisted the talents of musicians, dancers, poets, photographers, painters, perfumers, a tea maker, a chef, sculptors, animators, and set designers to respond in Consenses-like fashion; among them were Taylor’s parents, James Taylor and Carly Simon, the latter of whom will be performing, along with others, at “An Evening with Sally Taylor and Friends” at MASS MoCA on opening night (Saturday, June 23).

To learn more about Taylor’s background and her vision for Consenses, listen to her TEDx talk from 2015:

Also be sure to check out https://consenses.org/, where you can browse past interpretive chains and participate in new ones.

Like a Ship upon the Sea (Artful Devotion)

Navecilla by Paulo Medina
Paulo Medina (Mexican, 1964–), Navecilla, 2007. Acrylic on canvas, 100 × 80 cm.

Some went down to the sea in ships,
doing business on the great waters;
they saw the deeds of the Lord,
his wondrous works in the deep.
For he commanded and raised the stormy wind,
which lifted up the waves of the sea.
They mounted up to heaven; they went down to the depths;
their courage melted away in their evil plight;
they reeled and staggered like drunken men
and were at their wits’ end.
Then they cried to the Lord in their trouble,
and he delivered them from their distress.
He made the storm be still,
and the waves of the sea were hushed.
Then they were glad that the waters were quiet,
and he brought them to their desired haven.
Let them thank the Lord for his steadfast love,
for his wondrous works to the children of man!

—Psalm 107:23–31, describing one of four groups of exiled Judahites whom God rescued in their distress

On that day, when evening had come, [Jesus] said to [his disciples], “Let us go across to the other side.” And leaving the crowd, they took him with them in the boat, just as he was. And other boats were with him. And a great windstorm arose, and the waves were breaking into the boat, so that the boat was already filling. But he was in the stern, asleep on the cushion. And they woke him and said to him, “Teacher, do you not care that we are perishing?” And he awoke and rebuked the wind and said to the sea, “Peace! Be still!” And the wind ceased, and there was a great calm. He said to them, “Why are you so afraid? Have you still no faith?” And they were filled with great fear and said to one another, “Who then is this, that even the wind and the sea obey him?”

—Mark 5:35–41

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SONG: “Stand by Me” | Words and music by Charles A. Tindley, 1905 | Performed by Seth Avett, 2013 | United Methodist Hymnal #512

Read the history of this hymn by “one of the founding fathers of African American gospel music” at Discipleship Ministries, and listen to unique renditions by Sister Rosetta Tharpe and the Staples Singers.

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Paulo Medina’s painting Navecilla (Ship) was inspired by a letter St. Thérèse of Lisieux wrote to her older sister, Céline, on July 23, 1893, which references the narrative from next week’s Gospel lectionary reading and says in part,

Be assured, dear Céline, that even though your dinghy is far asea, it is perhaps already very close to your harbor. The wind of suffering that is propelling it is a wind of love, and that wind is faster than lightning. [translated by Victoria Hebert and Denis Sabourin]

Read the full letter, in an alternate translation from the French by John Clarke, at the Archives du Carmel de Lisieux.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 7, cycle B, click here.

Roundup: Joseph and Child icon; Clarence Fountain; “First Reformed”; novels for pastors; and more

I had every intention of completing an essay for publication yesterday on the fatherhood of Joseph as expressed in the visual arts, but as I got into the thick of research, the field of discovery proved much vaster than I had anticipated. So that I can do the topic justice (and so that I can continue trying to track down artist, dating, and location info for particular paintings), I will be postponing the essay until a later date. In the meantime, here’s a charming little neo-Coptic icon I found of Joseph holding the Christ child; the narrative scenes in the corners are the Nativity, the Presentation in the Temple, Joseph’s Dream, and the Flight to Egypt. For more on Coptic (Egyptian) iconography, read an interview with the artist from Orthodox Arts Journal.

Joseph of the House of David by Stephane Rene
Stéphane René, Saint Joseph of the House of David. St. Joseph’s Catholic Church, Bunhill Row, London.

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OBITUARY: RIP Clarence Fountain, founder and lead singer of the Blind Boys of Alabama: Clarence Fountain of the five-time Grammy Award–winning gospel group the Blind Boys of Alabama died June 3 at age eighty-eight. Fountain formed the group in the mid-1940s along with five friends from the Alabama School for the Negro Blind in Talladega, and the group, though it has gone through iterations in membership, has been touring continuously ever since. (Fountain retired from touring in 2007.) Ray Allen, a folklorist and music historian, said that over the years the Blind Boys’ sound evolved from the more staid style known as jubilee gospel into one that is distinguished by “a prominent lead singer shouting and preaching and backed by a rhythm-and-blues band.” Below you can hear Fountain sing “Look Where He Brought Me From” and the group’s signature song, “Amazing Grace” (to the tune of “House of the Rising Sun”):

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ART EXHIBITION: “The Morality Theatre Project: The Art of Barry Krammes,” Green Art Gallery, Biola University, La Mirada, California, April 25–June 29, 2018: Only two weeks left! For this exhibition, the culmination of seventeen years of studio work, Barry Krammes has assembled nineteen open-ended narrative scenes—reminiscent of miniature theater sets—using objects and figures gathered from flea markets and dumpsters, estate sales and antique shops. Although the exhibition title references a genre of medieval drama intended to inspire Christian virtue, the artworks do not preach or provide straightforward moral lessons; rather, they stand as little worlds of mystery that invite association and contemplation. If you’re not able to see the exhibition in person, stay tuned for the forthcoming catalog: I’ve been informed that one is in the works, to be published later this year.

Krammes, Barry_Of Mystery (alt photo)
Barry Krammes (American, 1950–), Of Mystery, 2018. Mixed media assemblage. From “The Morality Theatre Project,” Green Art Gallery, Biola University, La Mirada, California. Photo: Johnny Choura.
Of Lamentations by Barry Krammes
Barry Krammes (American, 1950–), Of Lamentations (detail), 2018. Mixed media assemblage. From “The Morality Theatre Project.” Photo courtesy of the Green Art Gallery at Biola University, La Mirada, California.

The occasion of the exhibition is Krammes’s retirement in May after serving for thirty-five years as an art professor at Biola University (he now bears the title Professor Emeritus). He has been instrumental in making Biola’s art department one of the top ten among Christian colleges and universities, and moreover, he helped to foster art appreciation campus-wide, designing and directing “Arts in Worship” chapels and organizing a yearly Arts Emphasis Week, which developed into the Biola Arts Symposium. He has also been active beyond the walls of Biola, especially as a founding member of the national organization Christians in the Visual Arts (CIVA). To learn more about his art, see “Interceding in the Theatre of Struggle: A reflection on the assemblage work of Barry Krammes” by Betty Spackman, published Sunday at ArtWay, and, from about ten years ago, the Image journal essay “Barry Krammes: Shepherd of the Wasteland” by Christina Valentine.

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VIDEO ART INSTALLATION: Three Women (2008) by Bill Viola, St. Cuthbert’s Parish Church, Edinburgh, May 1–September 20, 2018: Bill Viola, a pioneer of new media art, has said that his works “function both as aesthetic objects of contemporary art and as practical objects of traditional contemplation and devotion”—which is one reason they are so well suited to display in churches. In Three Women, a work from his Transfiguration series on temporary view at a Victorian church in Scotland, a mother and her two daughters pass from black and white through a threshold of water, entering a realm of color and light. The work speaks to me of the experience of illumination, of being drawn into a new and glorious understanding of divine truth. Watch an excerpt of the video at the New York Times.

Three Women by Bill Viola
Bill Viola (American, 1951–), Still from Three Women, 2008.

(Update: Sign up for the free HeartEdge church and culture seminar “Bill Viola and the Art of Contemplation,” September 20, 2–5:30 p.m. Various individuals will speak on Viola’s church-located installations, approaches to curating exhibitions in churches, and art as contemplative practice.)

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NEW IN THEATERS: First Reformed, written and directed by Paul Schrader: I’ve been hearing great things about this movie, which follows Ernst Toller (Ethan Hawke), the pastor of a small Dutch Reformed congregation in upstate New York, as he grapples with mounting despair. Schrader is the writer who brought us Taxi Driver and Raging Bull, and the folks from Fuller Studio recently sat down with him to discuss his Christian upbringing and how the unique language of film—especially the transcendental style—helps him explore religious questions.

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FICTION RECOMMENDATIONS: “Ten Novels Every Pastor Should Read” (+ part 2): Kolby Kerr of LeaderWorks is an exceptional literary guide, whose “ten poets” list I commended in a previous roundup. Here he switches gears to novels. But first he opens by addressing the utilitarian inclination of pastors to nonfiction, which they believe will give them a bigger return on their investment. When it comes to novels, Kerr says, instead of asking What will these books do for me?, we should be asking, What will these books do to me? We should read not only to be informed but to be formed. And once again, what a great list! It’s divided into the categories “saints who sin,” “lost and found” “the dark side,” and “let’s get (meta)physical,” and it concludes with practical advice on how to form and maintain good reading habits.

Get Ready (Artful Devotion)

Last Judgment (Florentine mosaic)
Detail of the Last Judgment, 1240–1300. Mosaic dome, Baptistery of Saint John (San Giovanni), Florence, Italy. Photo: Johann H. Addicks.

For we must all appear before the judgment seat of Christ, so that each one may receive what is due for what he has done in the body, whether good or evil.

—2 Corinthians 5:10

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SONG: “Judgment” by Rev. Sister Mary Nelson (1927) | Adapted and performed by David Benjamin Blower and the Army of the Broken Hearted, on Kingdom vs. Empire (2013)

 

Listen to the original.

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POEMS: “The Last Judgment” by Raymond Oliver is darkly humorous and a true account of how some medieval artists stuck it to the man. For a more reverent reflection on the topic, read “Judgment Day” by R. S. Thomas, in which a perpetrator of injustice against the sick and the poor on earth stands before God’s heavenly throne, contrite; the speaker could well be Dives from the parable of the Rich Man and Lazarus—or, to name a more recent literary example, Scrooge from A Christmas Carol. She could also be you or me, if we heed not the many commands of scripture to love and support the needy.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 6, cycle B, click here.

Book of Revelation roundup

Over the past year or so, it seems I keep running into artistic responses to the book of Revelation. There was the “Apokalipsa” icons exhibition held in Nowica, Poland, in fall 2016, to which thirty-six artists contributed (see photos, plus this Artful Devotion); then last September there was the release of the book Picturing the Apocalypse: The Book of Revelation in the Arts over Two Millennia, which I mentioned in an earlier roundup. What’s more, this April, Pillar Church in Holland, Michigan, was awarded a Vital Worship Grant by the Calvin Institute of Christian Worship “to enrich worship by collaboratively creating artistic liturgical resources inspired by the book of Revelation in order to promote a rich engagement with Scripture.” I’ll be interested to see what they come up with!

The Angel Locks Satan in the Abyss by Joanna Zabaglo
Joanna Zabagło (Polish), The Angel Locks Satan in the Abyss [Rev. 20:1–3], 2016. Tempera on board, 18 × 10 cm.
Now I see that the Association of Scholars of Christianity in the History of Art (ASCHA) is calling for papers on the topic of “Waiting for the End of the World: Eschatology and Art 1850–2000,” for a symposium to be held February 11–12, 2019. Proposals due by September 4.

After 1850, religious subjects became increasingly suspect among modernist artists determined to paint only what the eye can see. Gustave Courbet’s pronouncement, “show me an angel, and I’ll paint one,” exemplified a new, more skeptical orientation. Nevertheless, historical forces and personal motivations compelled many artists, working across a spectrum of materials and visual methods, to directly employ or obliquely reference themes of the Last Judgment and the Apocalypse. Over a century that saw two world wars, economic booms and devastating depressions, the rise and fall of ideologies of left and right, the collapse of colonial empires and the chaos of failed states, the threats of nuclear annihilation and ecological degradation, artists frequently turned to eschatological imagery to visualize the experience of modern life.

The Last Judgment described in the sacred texts of the Abrahamic religions threatens damnation and promises redemption for both the individual and society. This symposium will explore the way that apocalyptic beliefs and imagery—Jewish, Christian, and Islamic—have informed the work of avant-garde artists from all regions of the globe. We invite proposals for 20-minute papers of original research that explore questions such as, but not limited to: What different visual languages have artists used to address the idea of the end of the world? What meanings have they found in the eschatological narrative? How are cultural differences and similarities manifested in their work? To what extent is the teleological narrative of modern art a disguised, secular version of a theological narrative?

Another recent release, from December 2017, is the poetry collection What Will Soon Take Place by Tania Runyan, “an imaginative journey through the book of Revelation” that “offers a poet’s view of the prophetic, not in the sense of seeking out clues to the ‘end times,’ but a means of taking this strange, fantastic book of scripture and letting it read its way into personal lives.” I love Runyan’s poetry (all the poets published by Paraclete are great), so this volume is near the top of my to-read list. Check out “The Angel Over Patmos” and “The Great Throne,” and see the promo video below, with an excerpt from “Vision of the Son of Man.”

Also from 2017, a collage by Nicora Gangi inspired by medieval Last Judgment triptychs. Commissioned by Spark and Echo Arts, Kiss the Son calls on us to love Christ with sincere affection, adorning his feet with kisses like the woman in Luke 7. The left panel shows a heap of humanity’s various “golden calves,” those things we worship that only lead to death. This is contrasted on the right with the New Jerusalem, where the Lion and the Lamb sit atop a cascade of glory. At the bottom of the central panel is the city of destruction, the destination of those who give Christ the betrayer’s kiss; the snake-like forms recall the Evil One who deceived Adam and Eve and plummeted humanity into alienation from God. Above, though, the Son shines brightly, inviting all the reconciled into his loving presence.

Kiss the Son by Nicora Gangi
Nicora Gangi (American, 1952–), Kiss the Son, 2017. Collage, 21 × 33 in.

Lastly, though it was released in 2013, I just recently discovered The Lamb Wins by the Lesser Light Collective, an album of thirty-plus original songs by fifteen-plus artists based on John’s Apocalypse. My favorite song is “The River and the Tree of Life.”

Oh yes, and because I just finished reading the massive Collected Poems of Thomas Merton, here’s a short, thematically relevant excerpt, from “Figures for an Apocalypse: VIII. The Heavenly City” (page 148):

Shine with your lamb-light, shine upon the world:
You are the new creation’s sun.
And standing on their twelve foundations,
Lo, the twelve gates that are One Christ are wide as canticles:
And Oh! Begin to hear the thunder of the songs within the crystal Towers,
While all the saints rise from their earth with feet like light
And fly to tread the quick-gold of those streets . . .

Update: On June 28 and 29, 2018, the Centre for the Critical Study of Apocalyptic and Millenarian Movements (CenSAMM) in the UK hosted the conference “Apocalypse in Art: The Creative Unveiling.” All the talks, given by various scholars, have been added to the organization’s media archive. They address the theme in Hans Memling, Albrecht Dürer, William Blake, James Hampton, Keith Haring, Michael Takeo Magruder, David Best, Bob Dylan, and more.

Whore of Babylon by William Blake
William Blake (British, 1757–1827), Whore of Babylon, 1809. Pen and watercolor over pencil, 26.6 × 22.3 cm. British Museum, London.
De/coding the Apocalypse by Michael Takeo Magruder
Michael Takeo Magruder (British, 1974–), The Horse as Technology, modular installation (in view: SLS 3D print). Part of “De/coding the Apocalypse” v1.0 solo exhibition, 2014, Inigo Rooms, Somerset House, London. Photo: Jana Chiellino.

Look to the Unseen (Artful Devotion)

Embroidered photograph by Aline Brant
Photo and embroidery by Brazilian artist Aline Brant, 2017

So we do not lose heart. Though our outer self is wasting away, our inner self is being renewed day by day. For this light momentary affliction is preparing for us an eternal weight of glory beyond all comparison, as we look not to the things that are seen but to the things that are unseen. For the things that are seen are transient, but the things that are unseen are eternal. For we know that if the tent that is our earthly home is destroyed, we have a building from God, a house not made with hands, eternal in the heavens.

—2 Corinthians 4:16–5:1

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SONG: “The Sweet Forever” (When They Ring Those Golden Bells) | Words and music by Daniel (“Dion”) de Marbelle (1887) | Arranged and performed by the Sensational Nightingales, on It’s Gonna Rain Again (1972, re-released 1998)

There’s a land beyond the river
That we call the sweet forever,
And we only reach that shore by faith’s decree;
One by one we’ll gain the portal,
There to dwell with the immortal,
When they ring those golden bells for you and me.

I wonder, can you hear those bells a-ringing?
I wonder, can you hear those angels singing?
Talkin’ ’bout glory, glory, hallelujah, Jubilee!
In that far-off sweet forever,
Just beyond that shining river,
When they ring those golden bells for you and me.

We shall know no sin or sorrow
In that haven of tomorrow,
When our barque shall sail beyond the silver sea;
We shall only know the blessing
Of our Father’s sweet caressing,
When they ring those golden bells for you and me.

When our days shall know their number,
When in death we sweetly slumber,
When the Savior commands the spirit to be free,
Nevermore with anguish laden,
We shall reach that lovely Eden,
When they ring those golden bells for you and me.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 5, cycle B, click here.

Roundup: Poetry releases; Heaven, help us; interfaith art exhibitions; 3 free albums

POETRY BOOKS: I just learned about some recently released poetry collections in the Christian Century’s Book Reviews section: Joy: 100 Poems, compiled by Christian Wiman (the review responds to the comment Adrianna Smith made in her otherwise positive review for the Atlantic, that the book’s one fault is its “slant toward a theological comprehension of joy, specifically, an over-representation of a Christian one”); Wade in the Water: Poems by Pulitzer Prize winner Tracy K. Smith; and Meister Eckhart’s Book of the Heart: Meditations for the Restless Soul, a collection of verse-style renderings of the thirteenth-century German Christian mystic by Jon M. Sweeney and Mark S. Burrows, like this one:

“You Are Not an Answer”

There is no Why in You
and so I must learn to trust

that You are not an answer
to my questions but rather

the source that is true before
every question I ever had

and the love beyond every
answer I will ever know.

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SONG: “Heaven Help Us All”: This a cappella Stevie Wonder cover is by the vocal group Accent, featuring guest singer Vanessa Haynes. Comprising six male vocalists from five different countries, Accent creates music through Internet collaboration. This song is an intercession to God on behalf of the desperate poor, the homeless, the abused, the lonely, and the depressed. [HT: Global Christian Worship]

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ART EXHIBITIONS:

“Pathways to Paradise: Medieval India and Europe,” Getty Museum, Los Angeles, May 1–August 5, 2018: “The pages of medieval manuscripts reveal a dynamically interconnected world filled with real and imagined ideas about foreign peoples and places. Buddhists, Muslims, and Christians living across Europe and Asia conceived paradise as a place of perfect harmony, but the path for locating such a site or achieving this state of mind varied between these religions. By exploring the terrestrial and celestial realms, this exhibition highlights the spiritual motivations for creating and owning portable and devotional artworks.”

“Shared Sacred Sites,” Manhattan, March 27–June 30, 2018: Spread across three Manhattan cultural institutions, the multidisciplinary exhibition “Shared Sacred Sites” aims to raise awareness of the potential for cooperation among the three Abrahamic faiths. The tour begins at the New York Public Library with illuminated manuscripts and documents that highlight holy figures shared in common, like Abraham, Moses, Elijah, and (between Christianity and Islam) Mary and Jesus. The Muslim miniature below shows the Miracle of the Table recounted in the Qur’an (5:111–114), in which ’Isa (Jesus) causes a table set with food to descend from heaven, corroborating his status as a true prophet. This miracle story echoes the Miracle of the Loaves and Fishes in the Gospels.

Jesus receives food from heaven (Persian)
“‘Îsâ (Jesus) receives food from heaven and is able to feed his followers,” from Qisas al-Anbiya (Tales of the Prophets), Iran, ca. 1580. Spencer Collection (Pers. ms. 46, fol. 152v), New York Public Library.

Then it moves to the Morgan Library and Museum, where the celebrated Morgan Picture Bible, produced in thirteenth-century Paris, is on display. This masterpiece of Gothic art offers exquisite visualizations of some three hundred Old Testament scenes (one of which I featured on the last “Artful Devotion”), and it’s also a testament to intercultural exchange: as the book circulated across civilizations, explanatory captions in Latin, Persian, Arabic, Judeo-Persian, and Hebrew were added in the margins.

Lastly, the James Gallery at the CUNY Graduate Center presents artifacts, videos, contemporary art, and photographs that showcase examples of peaceful coexistence of people from different faiths throughout the Eastern Mediterranean as a counternarrative to the stories of conflict that saturate the news media. Several of the photos are of shared worship spaces, like the mosque-synagogue in the cave of Machpelah in Hebron, West Bank, or Ghriba synagogue in Djerba, Tunisia, where Muslims can often be found praying alongside Jewish friends and neighbors or attending pilgrimage ceremonies. (For more on Djerba’s beautiful culture of religious tolerance, see “Jews and Muslims Celebrate Unusual Coexistence in Tunisia’s Djerba.”)

Jewish and Muslim Women Praying
Jewish and Muslim women pray side by side in the Ghriba synagogue in Tunisia, 2014. They stand before the building’s eastern wall, behind which the scrolls of the Torah are preserved. Photo © Manoël Pénicaud.

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FREE ALBUM DOWNLOADS:

Weep + Rejoice by Trenton Durham: This four-track EP was released in March as a series of soft-rock meditations on Christ’s death and resurrection.

Top of the Stairs by Scott Mulvahill: Mulvahill is a singer-songwriter and upright bass player from Nashville who toured for five years with Ricky Skaggs’s bluegrass band, Kentucky Thunder. “The Lord Is Coming,” which Mulvahill wrote with Alanna Boudreau and Gabi Wilson, is one of eight songs on his latest EP. See below for a live performance from 2017 with two backing vocalists, or click here for a more recent solo performance from the Tokens Show, uploaded yesterday.

Volume 2 by Deeper Well Records: Five Deeper Well artists have contributed two songs each to this compilation of acoustic hymns, a mix of classics, like “Turn Your Eyes Upon Jesus” and “This Is My Father’s World,” and originals. I can’t speak highly enough of this label—the quality of music they release is superb. You can stream all the full songs on Bandcamp.