SONGWRITING CONTEST: 2021 Creation Care and Climate Justice Songwriting Contest, sponsored by The Porter’s Gate: “We are working on new worship resources celebrating God’s creation and His call to care for the created world. Over the next year we’ll be writing new songs on this subject and recording them. As part of this project, we are looking for submissions from anyone who would like to write a song or has already written a song on this subject. If you are a songwriter or composer, or if you know a songwriter who would be interested, click on this link for all the details of the contest. Songwriters are invited to submit worship songs related to caring for God’s creation, and we are offering a $500 cash prize to the winner. We’ll also record the winning piece.” No entry fee. Deadline August 30, 2021.
CINEPOEM: “First Grade Activist” – Poem by Nic Sebastian, video by Marie Craven: This 2014 short by Australian filmmaker Marie Craven takes a poem written and read by Nic Sebastian—one of many poems made freely available for “remixing” through the now-defunct Poetry Storehouse—and sets it to moving images and music. About bullying in schools and transforming perceptions, the poem suggests concrete ways to turn a personal attribute that elicits taunts into one that’s praiseworthy, merely by reframing it. It’s an ode to red hair!
They discuss the role of metaphor in the Bible, the unique powers of different art forms, and the ways our aesthetic choices open up and close down opportunities for formation in worship.
I so appreciate Taylor’s ecumenicism. He’s an Anglican priest in the United States but does not prescribe any one “right” way of using the arts in worship. In all his examples from across Christian traditions and even historical eras, he’s keen on exploring what motivates aesthetic choices and the benefits and drawbacks of any given choice. For instance, he compares the experiences of worshipping in a Gothic cathedral versus in a living room; neither one is inherently better than the other, but each setting will inevitably form worshippers in distinct ways. He also compares two songs centered on the idea of God as rescuer: the Gettys’ “In Christ Alone” and Hillsong’s “Oceans”; both have a similar aim but take very different approaches to reach it, and that’s OK.
Lots of great content here, folks, and a great intro to the themes in Taylor’s book.
Organized by Mount Tabor Ecumenical Centre for Art and Spirituality:
>> April 10, 11 a.m.–12:30 p.m. EDT: “The Victory of Life (Easter in Renaissance Art)”: “The most important event of New Testament belief, Christ’s Resurrection, is not described in the Scriptures. That has not prevented artists however from imagining it. As we celebrate Eastertide, we invite you to join Monsignor Timothy Verdon as he reflects on a number of works focused on this theme.”
>> April 15, 11:30 a.m.–1 p.m. EDT: “In the Shadow of Your Wings: Musical Bible Study on the Psalms”:Deus Ex Musica presents this interactive event in which participants watch prerecorded live performances of three brand-new vocal settings of Psalm 57, each set to music by a composer representing a different Christian tradition. After viewing the performances, participants will engage in moderated small-group discussions. No musical expertise is required.
Deus Ex Musica is an ecumenical organization of musicians, educators, pastors, and scholars that promotes the use of sacred music as a resource for learning and spiritual growth.
>> April 26, 3–4 p.m. EDT: “Art and the Liturgical Year: Bringing the Church Calendar to Life”: Organized in partnership with the CEEP Network. “This workshop explores ways of engaging artists with churches/congregations using the church calendar. What might inspire artists in engaging with the patterns that underpin the life of many churches, and how might engaging with artists open up understandings of faith in new ways for congregations? Examples of the kind of projects we will explore include initiatives using the visual arts in dialogue with scripture or exhibitions/installations in particular seasons such as Advent or Lent. Fundamentally, though, this workshop seeks explore a range of ideas and approaches and to hear about the benefits both for artists and congregations.”
Janet Broderick, Beverly Hills, California: Rector, All Saints Beverly Hills
Paul-Gordon Chandler, Casper, Wyoming: Bishop, Diocese of Wyoming; and Founding President of CARAVAN Arts (moderator)
Catriona Laing, Brussels: Chaplain, St. Martha & St. Mary’s Anglican Church Leuven; Associate Chaplain, Holy Trinity Brussels
Ben Quash, London: Professor, Christianity and the Arts & Director, Center for Arts and the Sacred, King’s College London; Director, Visual Commentary on Scripture Project
Aaron Rosen, Washington, DC: Professor, Religion and Visual Culture; Director, Henry Luce III Center for the Arts and Religion, Wesley Theological Seminary; Cofounder, Stations of the Cross Public Art Project
>> June 4, 11, 18, 25, 11:30 a.m.–1 p.m. EDT: “Jesus Is Just Alright: What Pop Songs About Jesus Can Teach Christians Today”: Led by composer, musician, and educator Delvyn Case of Deus Ex Musica. “For over fifty years, pop musicians in all genres have explored the meaning and significance of Jesus in their music. The result is a rich collection of songs that consider important spiritual questions like faith, doubt, and prayer in unique and often provocative ways. Through a combination of listening and discussion, this four-part series invites participants to explore a different spiritual topic each week. Join us to listen to great music that asks tough questions about our faith and our lives as Christians.”
>> April 21, 1–2 p.m. EDT: “Exhibiting Faith in the Museum and Beyond”: World-leading experts Ittai Weinryb, Neil MacGregor, and Jennifer Sliwka will discuss the joys and difficulties of introducing to the general public art that builds on a faith tradition. “They will discuss what has become a major concern for teachers, lecturers and museum curators in many countries. How do you encourage a largely secular audience to step inside a work of art, in such a way that its religious meaning is felt and understood, and the artistic experience can become immersive? . . . Among the topics to be explored are:
The opening up of museums and galleries to enhanced audiences during the pandemic.
How certain objects are altered by their move from a sacred space into a museum, yet how they also ‘live on’ beyond the museum plinth or computer screen.
The need to understand secular inhibitions and the loss of interest in Christianity and to find ways in which works of art can readdress this situation.”
>> April 29, 2–3:30 p.m. EDT: “Coventry Cathedral: Icon and Inspiration”: “Join Alexandra Epps [an Accredited Lecturer for The Arts Society and Guide and Lecturer at Tate Modern, Tate Britain and the Guildhall Art Gallery] for the extraordinary story of the rebuilding of Coventry Cathedral as a symbol of peace and reconciliation and its inspiring commitment to the modern. Experience the artistic journey that is the Cathedral discovering the work of many of the world-class artists associated with its many treasures including Jacob Epstein, Elisabeth Frink, John Piper, Graham Sutherland and more.”
>> May 5, 5–6 p.m. EDT: “The Art of Criticism: The People’s Madonna”: “Filmmaker Lucia Senesi grew up in Arezzo, Italy, within walking distance of several Old Master Madonnas. But it wasn’t until she was older—and viewing films by Andrei Tarkovsky and Valerio Zurlini, who were both captivated by the Madonna del Parto in Monterchi—that she saw these paintings with fresh eyes. Her essay in the spring issue of Image describes the fascinating history of a Madonna commissioned by peasants, executed by a Renaissance master, condemned by popes, and preserved through wars and social upheaval. She’ll talk with culture editor Nick Ripatrazone about film, the populism of sacred art, and the scandal of a woman pregnant with God.”
The Cadet Chapel was designed to house three distinct worship spaces—Protestant, Catholic, and Jewish—on two levels, with a large “All-Faiths Room” on a third (bottom) level available to members of other faiths. In 2007 a Buddhist Chapel (the Vast Refuge Dharma Hall) was added, and more recently a Muslim prayer room, and outside there is a Falcon Circle for the Earth-Centered Spirituality community (pagans, Druids, Wiccans, etc.), dedicated in 2011. Because of the building’s sound-proofing and separate entrances, different services can be held simultaneously without interfering with one another.
I visited the Cadet Chapel last year shortly before it closed in September for a major renovation and restoration project needed to address water damage. It is scheduled to reopen again in fall 2023.
The most striking feature of the exterior is its seventeen spires, made to resemble jet fighter wings. I must admit: though it is an impressive structure, and I’m fully aware it is a military chapel, the evocation of warplanes for a worship space is a little unsettling. But the design choice does give the building great height—it points to the heavens as do the great medieval Gothic cathedrals of Europe, meant to turn the eye upward toward God.
The steel frame of the chapel comprises one hundred identical tetrahedrons, each weighing five tons and enclosed with aluminum panels. The surfaces of the outer panels are striated so that they reflect light differently throughout the day, depending on the sun’s position.
The chapel is situated on a terrace that overlooks part of the campus as well as beautiful mountain vistas.
The front façade faces south—an atypical orientation for churches, which are traditionally built on a west–east axis, but a choice made, I’m assuming, to best utilize the sunlight for the interior decoration (see next section).
To reach the main entrance you have to ascend a wide granite stairway that leads up one story to an uncovered front porch. Walk inside, and you’re in the narthex (lobby) of the Protestant Chapel.
The Protestant Chapel is by far the largest worship space within the Cadet Chapel, taking up the whole main floor—a choice made based on the religious demographics of enrolled cadets at the time of the building’s construction in the early sixties. (An article published shortly after the chapel’s dedication reported that 68% of cadets listed themselves as Protestant, 29% Catholic, and 2% Jewish, with a few listing other faiths or agnosticism.)
Though the exterior of the Cadet Chapel is, as I experienced it, somewhat cold, sterile, severe, the interior is incredibly warm and genial. Its vertical lift is spectacular. Stained glass strip windows provide ribbons of color between the tetrahedrons and progress from darker to lighter as they reach the altar, with some of the nearly 25,000 dalles (small, thick glass slabs) being deliberately chipped to produce jewel-like facets. The play of colored light across vault, floor, and pews was my favorite part of this space.
Last month I attended the biennial conference of Christians in the Visual Arts (CIVA) at Bethel University in St. Paul, Minnesota. Celebrating forty years, CIVA is a membership organization made up primarily of studio artists but also other arts professionals—curators, gallerists, administrators, educators, critics, art historians—as well as collectors, theologians, and church leaders. As a writer about the arts working independently out of my home in Maryland, sometimes I feel disconnected from artists themselves, so five years ago I joined CIVA to plug into and invest in this community of believer artists. The large conference that CIVA organizes every other year, each time in a different US city, is an opportunity to meet and talk with artists, to see what they’re working on, and to worship and pray with them. It’s also a weekend chock-full of amazing talks, panel discussions, breakout sessions, exhibitions, and other activities.
In a series of blog posts, I’d like to share some of the art I encountered at the CIVA conference. All photos in this post are by me, Victoria Emily Jones.
I arrived a day early to participate in a CIVA-sponsored Sacred Spaces tour of the Twin Cities with Kenneth Steinbach, a sculptor and a professor of art at Bethel. The first stop was Bigelow Chapel, designed by Hammel Green & Abrahamson at the commission of United Theological Seminary in 2004. As Ken warned us in advance, the chapel was recently sold by the seminary to a charter school, who will not be using it as a worship space and will be removing its one overt Christian symbol (the inset cross) as well as renaming it. Because of the changeover, the chapel was in a bit of disarray when we visited, being used for the time being as an ad hoc storage space, but I was grateful for the chance to see this acclaimed work of contemporary religious architecture before it fully succumbs to its fate as a secular meeting room.
I first learned about Bigelow Chapel through the book Visual Theology: Forming and Transforming the Community through the Arts (reviewed here, with annotated chapter list). Ken read us the vision statement of this ecumenical Protestant institution—“a generous and welcome seminary where all—trailblazers and traditionalists, questioners and yearning spirits—explore the boundless possibilities of a loving and beloved community”—and we discussed how the design reflects that vision. Symmetry and linearity, for example, can be associated with authority, rigidity, so this chapel is notable for its asymmetry, an uncommon feature in church design, as well as an open floor plan that accommodates different traditions and styles of worship. It’s also curvy, feminine, womblike; a series of translucent maple wood panels sweeps up the wall and over the ceiling, casting the sun’s warm glow inside the space. Some people on the tour expressed a sense of being enveloped in God’s love.
Another mentioned how the cross is far too subtle, almost unnoticeable, and seems to recede; it’s certainly not a focal point as it typically is in other Christian worship spaces. Ken pointed out that the cross was intentionally positioned next to a clear window that looks out into a central garden, suggesting the idea of deep incarnation; nature is itself part of the space, and Christ’s redemption is for all of creation. One person noted how the large green shrub outside, when illuminated by the sun, is reminiscent of the burning bush of Exodus and therefore calls us into an awareness of how God might be speaking to us.
Ken also told us that student worshippers used to stick written prayers between the chapel’s wall-stones, much like at Jerusalem’s Wailing Wall. Several such pieces of paper were still there, wedged in the cavities of the masonry.
It was sad to me to see this building losing its original function as a Christian worship space. The impetus for the sale was the seminary’s relocation from New Brighton, a suburb, into the city of St. Paul, where it believes it can be of better service to the surrounding community. View more photos of Bigelow Chapel at https://www.kirkegaard.com/827.
Next our tour group visited the Minneapolis Sculpture Garden, where we spent time inside a James Turrell Skyspace titledSky Pesher, 2005, a subterranean concrete chamber with a square aperture in the ceiling that frames the sky. (The word pesher is Hebrew for “interpretation.”) Turrell calls himself a sculptor of light; light, he says, is his medium. His work is influenced by his Quaker faith, especially the doctrine of the Inner Light. Quaker worship gatherings consist primarily of silence, a time of corporately waiting on the Light, which is God, who dwells within us as wisdom and guide. I did find the environment Turrell built especially conducive to stillness and listening. Quakers say that silence is not a void, it’s full, and I found that to be true as I opened myself to encountering God in that space.
I actually really cherished sitting there in silence with the group, ridding myself of distractions as together we simply turned our gaze to the wonderful gradients of blue stretched out above us. Out of interest in and respect for the artist’s Quaker spirituality, I took the opportunity to commune with God in “wordless thought”; instead of me talking to God or about God, I let God talk to me.
I expressed my particular enjoyment of the experience afterward to a colleague, who was surprised that, because of my fascination with biblical imagery and its possibilities in worship and devotion, I should be so moved by a sacred space that lacks any imagery at all, other than open, undefined sky. It surprised me somewhat too! Continue reading “Art highlights from CIVA conference, part 1”→
Image journal subscriptions are 50% off through the summertime—only $24 for four full-color issues! This is the magazine I most look forward to receiving in the mail. So much great poetry, art, essays, and more.
NEW POEM: “They Too Go Round” by Paul Mariani: This poem from the current issue of Image journal (no. 101) brings together Pieter Bruegel the Elder’s Wedding Dance with Fra Angelico’s Last Judgment at San Marco, gesturing toward a vision in which the terrestrial is taken up into the celestial. Bruegel’s Dutch peasant dancers “pound” and “rollick” with beer foam on their faces and general bawdiness; the saints from the Fra Angelico painting, by contrast, step lithely and with reverence in their round dance on the very grasses of paradise. Disparate though they are in tone, Mariani connects these two images, playing with the idea of circling. Just as the wedding guests dance round and round, so too does time; so too the spheres. And at the center of this cosmic round dance is praise: humanity linked hand in hand with the angels, not closed in on themselves but opening up into the glory of God.
The last stanza quotes an excerpt from a famous medieval Catholic prayer: “Sinning daily, and not repenting, the fear of death disturbs me, for there is no redemption in Hell. Have mercy on me, O God, and save me.” The speaker’s anxiety has been building up as he reflects on the empty pleasures to which he has been so long devoted and the imminence of death. This anxiety, however, is swept away in one turn as he catches a glimpse of God’s abundant salvation and its final consummation—a “sea-changing moment, now and forever.” Christ, the fulfillment of all desire, sits on his throne at the center of this turning world, beckoning us into the dance of the redeemed.
CHURCH ARCHITECTURE: Known for his work in concrete, Spanish architect Fernando Menis designed the new Holy Redeemer Church in Tenerife, Spain, consecrated May 12. I’m digging the minimalism. Learn more and view more photos on the architect’s website. [HT: ArtWay]
CHORAL ARRANGEMENT: “Dios es Nuestro Amparo” (God Is Our Refuge), arr. Alfredo Colman: I love this traditional setting of Psalm 46 in Spanish, recently arranged by Alfredo Colman and performed by the Coro del Seminario Internacional Teológico Bautista (Choir of the International Baptist Theological Seminary) in Buenos Aires, Argentina. [HT: Global Christian Worship]
I was curious about the history of the song, so I wrote to Colman; he said he first encountered it in Paraguay, where he grew up, but doesn’t know its country of origin. The song, he told me, has been well known in Latin America since the 1970s. While this particular arrangement of Colman’s has not yet been published, you can find a simpler arrangement for congregational singing in the bilingual hymnal Santo, Santo, Santo: Cantos para el pueblo de Dios / Holy, Holy, Holy: Songs for the People of God, released just this month. Edited by the Calvin Institute of Christian Worship (CICW) in partnership with GIA Publications, it contains over 700 songs in Spanish and English.
For a vision and resources for singing together in Spanish and English, see this recorded CICW workshop, led by Colman and five others, and also the article “Expand Your Church’s Bilingual Music Repertoire.” Introducing bilingual music to a church congregation is “like introducing a new vegetable to toddlers,” says María Eugenia Cornou, the CICW program manager for international and intercultural learning. “Some kids love it, but usually it takes time. It’s a new flavor.”
CULTURAL DESTRUCTION: “A Regime Conceals Its Erasure of Indigenous Armenian Culture” by Simon Maghakyan and Sarah Pickman: An investigative report published in February exposed Azerbaijan’s destruction of thousands of medieval Christian Armenian artworks and objects at the necropolis of Djulfa in Nakhichevan. The cemetery at Djulfa contained the world’s largest collection of khachkars, ornately carved memorial steles with crosses, characteristic of Armenian Christianity; 2,920 were documented clandestinely by native Argam Ayvazyan from 1964 to 1987, half of the 5,840 he documented in Nakhichevan as a whole. But, other than the dozen that were removed from the region during or before the Soviet era into church or museum collections, all these were demolished by Azerbaijani soldiers in 1997, 2002, and 2005–6, expunging the region’s last remaining traces of Christianity. (This was in addition to the demolition of 89 Armenian churches and 22,000 tombstones in Nakhichevan.)
“Unlike the self-publicized cultural destruction of ISIS, independent Azerbaijan’s covert campaign to re-engineer Nakhichevan’s historical landscape between 1997 and 2006 is little known outside the region. . . . While some Azerbaijanis have embraced their government’s vandalism as either righteous revenge or a national security measure against potential Armenian territorial claims, other Azerbaijanis . . . have mourned the destruction.”
Here is a short video posted in December 2005 by Nshan Topouzian, the leader of north Iran’s Armenian church, who was tipped off to the destructive activity taking place at the Djulfa cemetery by an Iranian border patrol. (Djulfa is located at the border of Azerbaijan and Iran.)
Hyperallergic pointed out the “cruel irony” and “insult” of Azerbaijan hosting UNESCO’s World Heritage Committee session earlier this month. UNESCO not only avoided a public condemnation of the destruction of Armenian Christian artifacts and churches in Nakhichevan but also praised Azerbaijan (one of its biggest donors) as a “land of tolerance.”
ARTICLE: “6 Works of Classical Music Every Christian Should Know” by Jeremy Begbie: Theologian and pianist Jeremy Begbie is a superstar in the field of theology and the arts. Most of his books, published for academic audiences, are pretty dense, but this article that he wrote for The Gospel Coalition is wonderfully accessible. It opens, “Why bother with classical music? On the face of it, it seems like a serious indulgence to give time and attention to something so trivial as music—classical or otherwise. Yet the fact remains that no human society, however impoverished, has yet managed to do without music in some form. The impulse to sing, to blow air through wooden tubes, and to draw hair across strings seems ineradicable. What’s more, it’s long been recognized that people pour their deepest longings and passions into music-making. Music can be a remarkable index of the profoundest impulses and stirrings of a culture—impulses and stirrings that are often theologically charged.”
He then recommends six works of classical music to spend time with, highlighting the best recordings and musical guides available. From the “bubbling, joyful abundance” of a Mozart piano concerto (“a fresh iteration of creation’s hallelujah”) to the “aching beauty” of Rachmaninov, there’s variety here. Find out what Begbie considers to be “the greatest Christian musical achievement of the early modern era,” and which symphony contains, from its penultimate to final movement, one of the best transitions in Western music.
Begbie is the founder Duke Initiatives in Theology and the Arts, and the program is throwing a big symposium in September to celebrate its ten-year anniversary. I’ll be there! Join me? If you can’t swing the registration cost but live in the Triangle area of North Carolina, consider coming out on Saturday night to “Making All Things New: The Sound of New Creation,” a concert featuring a range of music, “from Bach to Bernstein, Rachmaninov to Latino, medieval to jazz, concert music to film music,” as well as a reflection by N. T. Wright. I attended a similar Begbie-led concert at Duke two years ago, and it was phenomenal.
FILM: Ida (2013), dir. Pavel Pawlikowski: This Oscar Award–winning film about identity and faith is a great watch, especially for its stunning cinematography by Lukasz Zal and Ryszard Lenczewski. Shot in high-contrast black-and-white in the classic 4:3 format, it is almost entirely made up of static frames, exquisitely composed. I really just can’t get over the visuals. Watch the trailer and film clip below, and you’ll get a sense of what I mean. The movie is available on Kanopy, an on-demand streaming service provided for free by many public libraries.
Readers often ask me what podcasts I listen to, so today I want to share one of them with you, which comes out of my home state of North Carolina: Makers & Mystics.
Hosted by Stephen Roach, Makers & Mystics is a biweekly podcast that aims to “develop a greater cultural understanding of why creativity abides at the core of our spirituality and why artists are called to be ‘architects of hope’ for our cities.” It is run by The Breath & the Clay, an organization based in Winston-Salem, which, in addition to producing regular online audio content, also hosts an annual conference and artist retreats. (Their 2019 conference already passed—you can purchase audio of all the presentations here—but two retreats are still being offered this year, in June and October; I just added them to my recent roundup, but you can also just go directly here for all the info.)
I love to find out about the various creative endeavors that the people of God are engaged in, and Makers & Mystics is one of my primary avenues for doing that. I’m impressed by the wide variety of disciplines and styles that Roach has curated in his selection of interview subjects, and I appreciate the mix of fine and folk art (some people reject this distinction, but you know what I mean). Though there are recurring themes in some of the interviews—things like the importance of honesty and integrity, and how to live a life awake to wonder—I find each episode so unique. It’s fun to hear different people’s stories and creative processes.
If this is the first time you’re encountering Makers & Mystics, you might want to start with one of the foundational episodes, which do not follow an interview format:
The very first things we learn about God in Genesis, Roach says, is that he’s a creative being, and that he takes immense joy in the creative process. So when we’re told in Genesis 1:26 that humans are created in God’s image, Roach continues, our only concept of God up to this point is that he’s a creator who delights in creating. That’s why creativity is not ornamental but, rather, is in our blood; it’s our birthright as human beings.
“Lawgivers don’t shape culture,” says Ray Hughes. “Artists do. They’re the ones that tell us who we are. That’s why I say, songwriters: hey, you’re not writing next year’s most popular chorus; you’re writing the next generation’s language for accessing God.”
OBITUARY:“Sister Wendy Beckett, Nun Who Became a BBC Star, Dies at 88”: A nun since the age of sixteen, Sister Wendy spent most of her life living in silence in a windowless trailer on the grounds of the Carmelite monastery in East Anglia, England. She read voraciously about art but had never set foot in a museum or seen any great paintings in person—until in 1991, a BBC producer persuaded her to do a documentary about the paintings in London’s National Gallery. She agreed, thinking it would be a flash in the pan, but it was very successful, and so throughout the nineties she presented several other documentaries on the history of art, including Sister Wendy’s Odyssey, Sister Wendy’s Grand Tour, and Sister Wendy’s Story of Painting. She quickly became the world’s best-loved art critic, as her unscripted commentaries, so full of wonder and enthusiasm, connected well with the general public, making high art accessible. She also authored some thirty-five books.
“One of the ways, for me, of looking at God is by looking at art,” she says in the intro to Odyssey. Not that art is God but that art can lead us to a deeper understanding of who, and Whose, we are.
Sister Wendy was a major influence on my path to becoming a writer on Christianity and the arts. I first encountered her in high school through her Story of Painting series, which a studio art teacher made our class watch excerpts from. This was my entrée into art history, a subject that captivated me then and that inspired me to pursue some such coursework in college, including a semester abroad in Florence, Italy. Without this initial incitement of interest from Sister Wendy, I doubt I would be writing about art today.
What attracts me to her is what attracts most people: her utter joy and rapture as she discusses art. She is the first person who taught me how to look at a painting and read it. I appreciate her charitable stance toward modern and contemporary art (movements that large swaths of Christians reject), and her unabashed delight in the nude body. Over the years, people have tended to be either amused or shocked, or both, by her frankness in talking about sexuality in art, but she was always insistent on the goodness of the human body and of sex. When Bill Moyers asked her back in 2000 whether she’s scandalized by the carnality, the sensuality, of so much art, she really stumps him with her matter-of-fact response! (See 4:15 of the video below.)
INTERVIEW: “Why You Should Read Devotional Poetry in 2019” by Leland Ryken: In this interview with Collin Huber, Ryken cites three reasons why Christians should read devotional poetry, elaborating on each one: (1) devotional poets express our spiritual experiences, (2) it sets our affections “in right tune,” and (3) it will take us to corners of the spiritual life that might otherwise remain unvisited. He also discusses how poetry has shaped him; the obstacles that keep people from enjoying poetry, and how to overcome them; what makes poetry distinctive as a genre; and the prevalence of poetry in the Bible. “Mastering a devotional poem by a famous English or American poet requires nothing beyond what mastering a psalm requires,” he says. “If you can possess Psalm 23, you can possess Milton’s sonnet on his blindness.”
STREET PERFORMANCE: Toccata and Fugue in D minor (BWV 565) by J. S. Bach: Bach’s Toccata and Fugue is probably the most famous organ work in existence. But last fall in Cologne, a group of four musicians, whose names I cannot find, performed it on two accordions, a violin, and a tuba! It’s uncanny how closely the collective timbre approximates that of an organ. The tuba grants sonority, and the other instruments contribute to the full-bodied sound.
This performance took place between Hohe Straße and Theo-Burauen-Platz in Cologne, Germany, but a few commenters on the video have reported witnessing near-identical performances in other parts of the country, so either this group travels, or the arrangement is circulating.
I frequently encounter articles on or photos of contemporary religious architecture. Here are just two notable buildings I’ve come across recently—the first one, thanks to Michael Wright’s Still Lifenewsletter (to which you should subscribe!).
Chestnut Hill Friends Meeting (2013): When the Chestnut Hill Friends Meeting in northwest Philadelphia was building a new meetinghouse, they invited contemporary light artist James Turrell, himself a Quaker, to design one of his famous “Skyspaces” for the meeting room—that is, an aperture in the ceiling that’s open to the sky. From the beginning, Turrell collaborated with architect James Bradberry to achieve this permanent art installation; for example, Turrell wanted the aperture to have no perceptible thickness, so Bradberry and his team developed a sophisticated steel roof structure and “knife’s edge” opening. The achieved effect of paper thinness is impressive: when I first saw photos, I assumed the “sky” on the ceiling was just a painted patch! (Visitors have reported similar surprise.) Turrell calls this Skyspace Greet the Light, a reference not only to the light of the sun but to the Quaker doctrine of the “Inner Light,” God within.
The meeting room is open to the public, for free, on select days (more info here). Visitors are invited to bring a yoga mat, pillow, and blankets (when the retractable roof is open, the room is unheated) and to lie on their backs on the floor or benches. Silence is requested. Turrell’s installation also makes use of artificial light: over the course of fifty minutes or so, the vaulted ceiling is bathed in turn in four color variations—green, red, blue, and white—which augments the natural light projected by the opening.
San Bernardo Chapel (2015): Located in a wooded grove in Argentina’s Pampas lowlands, just east of Córdoba, Capilla San Bernardo (St. Bernard Chapel) was designed by Nicolás Campodonico. It was constructed using hundred-year-old bricks that had been dismantled from the rural home and courtyard that previously stood on the site. There is no electricity in the area, so natural light plays a huge role, especially in the chapel’s most unique feature: two perpendicular beams, independently suspended from a large exterior opening, cast shadows onto an interior wall, which glide progressively toward each other throughout the day, ultimately overlapping to form a cross (see time lapse). Campodonico said he had in mind Jesus’s journey to Golgotha with the transverse beam, which, upon arrival at the execution site, was attached to the vertical mount; it’s as if the passion is being reenacted daily through the shadows, he said. See more photos at designboom.
FREE ALBUM: Into the Light by Joel LeMaire: Fans of Josh Garrels, Iron and Wine, and John Mark Pantana will probably enjoy Joel LeMaire’s 2015 EP, which is about finding hope in the letting go and stepping into the unknown. Download your own copy from NoiseTrade, and read more about the meaning behind the songs on LeMaire’s blog.
I will be going on vacation soon and will be mostly unplugged, so you will notice less frequent blog posts for a few weeks. I’ll cue up some Artful Devotions to be published automatically each Tuesday I’m gone but won’t be posting the links to the blog’s Twitter and Facebook pages as I usually do—so be sure to check the site instead! (Or subscribe by email by clicking the “Follow” link, located in the sidebar if viewing from your computer or at the bottom if viewing from your phone.) My regular publishing schedule will resume in September.
ARCHAEOLOGICAL FIND: “Discovery of Jewish Mosaics in Israel Bring Color to Biblical Accounts” by Sarah E. Bond: “At the ancient site of Huqoq, near the Sea of Galilee in modern Israel, a number of stunning mosaics depicting biblical, astrological, and historical narratives have been uncovered in a Jewish village that flourished during the late Roman empire. The colorful and large number of mosaics found in a synagogue challenge traditional views about Jewish art of the period as symbolic rather than representational of biblical texts, bland, and in decline during the period.”
SONGWRITING CONTEST: “In an effort to encourage Psalm-singing, Church of the Servant [in Grand Rapids, Michigan] invites congregational songwriters to submit a Psalm-based song to its 2018 COS New Psalm Contest. The winner will receive a $500 award. There is no entry fee and the contest is open to all. Submissions must be emailed or postmarked by October 1, 2018. The song will be premiered in worship on January 27, 2019. Church of the Servant is a Christian Reformed Church with a rich history of encouraging the arts in worship. Its worship is Reformed, liturgical, participatory, eclectic, and open to creative new worship expressions.” Continue reading “Roundup: Jewish mosaics; New Psalm Contest; revising hymns; tree-inspired chapel; and more”→
One of the art blogs I follow is Hyperallergic, “a forum for serious, playful, and radical thinking about art in the world today.” It’s not Christian-affiliated, but because of Christianity’s vast influence on the arts, it’s not unusual for “Christian” works, or works that reference Christianity, to be covered. This past month two such features stood out to me for the outsider perspectives they offered:
(1) “A Meditation on the Ineffable Grandeur of Churches” by Jennifer R. Bernstein: An “irreligious, halfhearted Jew” describes “what it means to love church but not God,” to be transported in a way that she has never been in synagogue. By way of example, she shows a photo of La Sagrada Familia in Barcelona; an agnostic friend of mine had a similar experience as this author—he told me that when he visited that cathedral last year, he came very close to believing in God and falling to his knees right then and there in repentance, so moved was he by the architecture and what it signified.
Here are some excerpts from Bernstein’s article:
Crossing the narthex of a cathedral is like starting a great book: You simply aren’t in your home world anymore.
In my view, the truest kind of reader/viewer is not the intellectual, but the supplicant. To “consume” a work of art is really to be consumed by it: to surrender your will to the vision of the creator — or, in this case, the Creator.
Organized grandeur makes us feel small and powerless, yet connected to something all-powerful.
Church, if we take it seriously, if we give in to stillness, threatens to reorder what we care about. . . . An extraordinary environment forces us into a confrontation with a striking somewhere, reminding us that we can and should take care in choosing where we place our bodies, for there we also place our minds.
What was shocking, to me, about this article is the reviewer’s candid opposition to King on the grounds of his “rigid, hierarchic, conservative” Christianity. We’ll take the social justice he promoted, Rodney seems to say, but without all the God-talk. Does he not understand how integral King’s religious faith was to shaping his vision and motivation? And he achieved practical, world-changing results. If our “desire to follow our inherited religious templates” “dooms us,” then why did King’s template, taken from the Bible, usher in such positive change in America? Citing today’s (Muslim) theocracies as evidence of how religion and human rights violations go hand in hand is irrelevant. Continue reading “Non-Christians respond to Christian artworks”→
“. . . circle through New York” project: What a clever way to foster relationships and spread cultural wealth! “In their new project A talking parrot, a high school drama class, a Punjabi TV show, the oldest song in the world, a museum artwork, and a congregation’s call to action circle through New York, artists Lenka Clayton and Jon Rubin create a complex system of social and material exchange that brings together city communities often separated by cultural, economic, geographic, or circumstantial boundaries. The artists have drawn an imaginary circle through Harlem, the South Bronx, Queens, and Manhattan’s Upper East Side and invited six public venues along the circle’s path to participate in a system of social and material exchange. These spaces, which include a pet store, a high school, a TV network, an academic research institute, the Guggenheim, and a church, serve as the project’s cocreators and hosts. The artists worked with the venues to select aspects of their identities—referenced in the project’s full title—that will rotate among the six locations over a period of six months.” Commissioned as part of the Guggenheim Social Practice initiative, the project is now in its second month and will wrap up in August.
“The Shimmering Glory of a Modern Indigenous New Zealand Chapel”: Completed in 1961, the Futuna Chapel in Wellington is, according to architect Nick Bevin, “New Zealand’s most significant building of the twentieth century.” Influenced by elements of wharenui (Maori meetinghouses), it was designed by John Scott, the country’s first university-trained Maori architect, as part of a retreat center for the Catholic Marist Brothers, and was built by volunteers from the order. Auckland artist Jim Allen was hired to design the acrylic glass windows, a Stations of the Cross frieze, and several mosaics, and to sculpt a crucifix for the main altar. The Society of Mary had to sell the retreat center in 2000 for financial reasons; the Futuna Trust has been formed to protect the chapel from demolition, but not before the surrounding land was turned into a townhouse development. The chapel is now deconsecrated, serving as host to lectures, concerts, and other events. Many great photos of its interior and exterior can be viewed at the link above, or, for further study, check out the recent book Futuna: Life of a Building.
Disney animator Glen Keane on spiritual transformation: Last month’s theatrical release of Disney’s live-action Beauty and the Beast has sparked renewed interest in the 1991 animated classic. On one of the special features of the DVD/Blu-ray release of the animated version, I was fascinated to hear that Glen Keane—who animated the original Beast along with Ariel, Aladdin, Pocahontas, Tarzan, Rapunzel, and many other beloved Disney characters—is a Christian whose own story of spiritual transformation was the driving inspiration, for him, behind the Beast’s transformation sequence at the end of the movie. (Visual influences included Rodin’s The Burghers of Calais and Michelangelo’s slave sculptures.) In an interview, Keane described his approach to animating this climactic moment:
For me, it’s really an expression of my spiritual life. There’s a verse in the Bible that says, “If any man is in Christ, he is a new creation. Old things have passed away, and all things have become new.” I wrote that on my exposure sheet there as I’m drawing this, because it’s really about an inner spiritual transformation that’s taking place with the Beast. And I saw it as a parable of my own life—that I got to express that. It was sincere, it was real for me. It was very real for the prince. I don’t know that there’s ever an illustration more clear as to what really can take place in a person’s life spiritually than this animated character transforming from an animal to the prince.
“The Dark of Doubt Dispelled: Odilon Redon’s Day appears at last . . .”: On March 26 I wrote a reflection for ArtWay on one of Odilon Redon’s lithographs. Showing the head of Christ haloed by the sun, his crown of thorns disentangling, it’s the last in a suite of twenty-four prints inspired by Gustave Flaubert’s novel/drama The Temptation of Saint Anthony.
Cities, a five-song cycle by Jonathon Roberts: “I have a personal goal of setting the whole Bible to music,” writes Jonathon Roberts. “The Bible is the starting point for most of my projects, regardless of the style. I connect best with a passage of Scripture when I explore it artistically. The challenge has led me down some interesting roads musically and lyrically, since the subject matter doesn’t always fit in a nice box.” Cities is Roberts’s most recent work; it’s a chamber-pop song cycle personifying the biblical cities of Bethlehem, Ephesus, Jerusalem, Jericho, and the “New City” described in Revelation. Listen to “Bethlehem,” inspired by Micah 5:2, below, and the rest here. The whole piece is a lot of fun!
Roberts’s interest in deepening his and others’ engagement with the Bible led him to found, with Emily Clare Zempel, the organization Spark and Echo Arts, which commissions works of visual art, music, theater, poetry, fiction, dance, and film that respond directly to scripture. Its aim is to “illuminate” the entire Bible, using various art forms, by 2020, creating a platform and framework for artists to explore this ancient sacred text, as well as a rich resource for the church. Look out for a major web redesign, to launch in the next few months.