This article was originally published on the centenary of the truce at theJesusQuestion.org. Because 2018 marks a hundred years since the end of World War I and two hundred years since the composition of the carol “Silent Night,” I thought it appropriate to bring it out of the vault.
On Christmas Eve 1914, along the four-hundred-mile Western Front of World War I, a famous ceasefire took place, as enemy soldiers spontaneously emerged from their trenches, arms laid aside, to celebrate Christ’s birth together. They sang carols, exchanged gifts (jams and candies, cigarettes, newspapers), kicked around a soccer ball, and shared photos of loved ones. They also buried each other’s dead and prayed communally over the bodies, led by chaplains. Some even exchanged home addresses and promised to visit after the war.
One soldier described it in a letter home as “the Wonderful Day.” Another soldier, Pvt. Karl Muhlegg, wrote, “Never was I as keenly aware of the insanity of war.”
Though temporary truces are not unique in military history (they have been recorded since as far back as the Trojan War), never have they been carried out on such a large scale, and accompanied by such fraternization, as that of the Christmas Truce of 1914. Remarkably, this truce grew out of no single initiative but sprang up independently in many of the camps, against the orders of higher-ups. In most places it lasted from Christmas Eve through Boxing Day (December 26), though in some it lasted into January. It is estimated that some 100,000 men took part.
Inspired by this event, French filmmaker Christian Carion wrote and directed a dramatized film version of it, called Joyeux Nöel, which was nominated in 2006 for an Academy Award for Best Foreign Film. The film focuses on three different regiments—one Scottish, one French, and one German—and their interactions with one another during that first Christmas on the front.
The pivotal scene, in which the truce is initiated, shows a conscripted German opera singer singing “Stille Nacht” (Silent Night) in his trench. The Scottish, stationed downfield, hear the distant song and start playing an accompaniment on bagpipes, which piques the attention of the French. Throughout the song, the German becomes more and more engaged: aware now of a listening audience across the void, he turns around, performing toward them. After the song, all three sides applaud, giving the opera singer the courage to step out of his trench and into No Man’s Land, singing “Adeste Fideles” (O Come, All Ye Faithful)—in Latin, the universal language of the church—and holding up a mini lit Christmas tree as a sign of peace. Continue reading “The Christmas Truce of 1914”→
ALBUM REVIEW: Hebrews by Psallos: My first published article for The Gospel Coalition! Psallos is a music collective led by Cody Curtis, and they’re doing amazing work—musically adapting entire New Testament epistles for folk rock band and chamber orchestra. (I reviewed the group’s first major album, Romans, two and a half years ago.) The track “Ex Paradiso” interprets John Piper’s favorite Advent text and implements a clever twist on Fauré’s Requiem. You’ll also hear a few other famous musical quotations, including, in track 3, “Angels We Have Heard on High”—again, with a lyrical twist—and a jarring rendition of “Nothing but the Blood.” Curtis is a wonderfully talented and versatile composer, writing in styles from bluegrass and Irish dance to slow hip-hop and hot jazz, all united under one overarching structure. The “Before the Throne” theme that’s developed throughout is truly sublime.
ANNOTATED BOOK LIST: “Art and theology” books published in 2018: I put together this compilation for ArtWay, so the emphasis is on visual art. I’ve already featured a few of the books on the blog, like Wounded in Spirit and The Annunciation: A Pilgrim’s Quest, but there are over a dozen more, a mix of academic and nonacademic. These include, among others, a large reference work on early Christian art; books on individual artists William Blake and Keith New; two books by Jeremy Begbie, which emphasize the need for biblically grounded creedal orthodoxy in discussions on the arts; and two books on the modern illuminated Saint John’s Bible—one of which (Illuminating Justice by Jonathan Homrighausen) was just named among the top twelve theology books of the year by the Englewood Review of Books. Like Homrighausen, art historian Heidi J. Hornik also links art and ethics, in her book The Art of Christian Reflection. Created: Bridging the Gap between Your Art and Your Creator is probably the most unique offering; published by Likable Art design studio, it features sixty-two responses to the question “What are your first five words to the world of artists?,” and edgy graphic designs.
Let me know if I’m missing any titles. For book lists from previous years, see 2014–16 and 2017.
Lost & Found (2018): Widely lauded at film festivals since its debut earlier this year, Lost & Found is an endearing stop-motion film that chronicles a dramatic turning point in the relationship between two crocheted animal toys, a fox and a dinosaur. Since finding each other in the lost-and-found bin of a Japanese restaurant, it was love. But when the fox topples into a fountain, the dinosaur must sacrifice himself, yarn by yarn, to save her. Directed by Andrew Goldsmith and Bradley Slabe.
Bao(2018): This computer-animated short film, written and directed by Domee Shi and produced by Pixar, premiered on June 15 with Incredibles 2. It’s about a lonely, aging Chinese Canadian mother, suffering from empty-nest syndrome, who receives an unexpected second chance at motherhood when she makes a dumpling that comes to life as a boy. “I was that overprotected little dumpling,” Shi said in an interview; this project, she said, was her attempt to try to better understand her mother. One of the strongest powers of film, I’ve always thought, is its ability to incite empathy. (Update, 12/25: It appears that this film was being offered for free online viewing for only a very limited time, as it is now behind a paywall: https://www.youtube.com/watch?v=ypEuSSwB1Rk.)
DAILY ART: 2018 Advent Calendar by the Ashmolean Museum: I know the season’s almost over, but it’s still worth checking out this free online calendar published by the Ashmolean, an art and archaeology museum in Oxford. Each day of December, they’ve been revealing a different winter- or Christmas-themed object from their collection. Entries thus far have included a bronze “reindeer” brooch from second-century Amiens, a decorated star tile from thirteenth-century Iran, a winter kimono with a design of snowy pines, an ivory netsuke in the form of a boy rolling a yuki-daruma (snowman), and a Delftware tile depicting three ships a-sailing. I dig this creative idea for public engagement! I’ve seen art museums do Pinterest boards, but this is the first time I’ve seen an Advent calendar.
Below I’ve reproduced the etching from Day 2, Epiphany, which F. L. Griggs made to celebrate the end of World War I one hundred years ago. A tall memorial crucifix stands atop a triple bridge, towering over roofless homes and illuminated by bright starlight. The Latin inscription translates as “The King of Peace whom the whole world desireth to see, hath shown His greatness. The King of Peace hath shown His greatness above all kings of the whole Earth.” Griggs’s son would die in World War II.
WALTZING MARBLES: Kinetic artist Mark Robbins of DoodleChaos made a series of Rube Goldberg-like contraptions with blocks and magnets and set a marble rolling along it to Tchaikovsky’s “Waltz of the Flowers” from The Nutcracker, with other marbles later joining the dance. The synchronization is perfect! I got such a kick out of this.
Congrats to the three winners of the Wounded in Spirit book giveaway. Thank you all for entering. I will be giving away another free book, from Eerdmans, sometime in the next month or two, so stay tuned!
ADVENT ART VIDEO:The Peaceable Kingdom by Edward Hicks: This year I was invited to make a guest contribution to art historian James Romaine’s annual Art for Advent video series on YouTube. For 2018, he is spotlighting paintings from the National Gallery of Art in Washington, DC, my neck of the woods. I chose to write about The Peaceable Kingdomby the nineteenth-century Quaker preacher-artist Edward Hicks, which visualizes the prophecy of Isaiah 11 about predators and prey lying down together in friendship, and a little child leading them. But Hicks’s image of “peace on earth” is not as simplistic as it may seem at first; there is tension. See the video below, and be sure to check back on the Seeing Art History YouTube channel next week for subsequent videos. For more on Hicks and this favorite subject of his, see this post of mine from 2016. Thank you to Rain for Roots for letting me use their wonderfully playful musical rendition of Isaiah 11 from their family Advent album Waiting Songs.
PODCAST EPISODE: “Mary Poppins,”Technicolor Jesus, episode 49: “If you want a movie that really shows the foolishness of the gospel next to what the world thinks is wise and is turned on its head . . . if you want a movie about the great reversals that are present in the kingdom of God, you don’t need to look any further than MaryPoppins,” says Pastor Becca Messman. The oppressive orderliness booming over people’s lives “is contrasted with something unpredictable and joyful—the wind, dancing chimney sweeps, and this beautiful bird woman giving her crumbs away.” The movie is about what happens when both adults and kids relax into joy.
It’s also about charity. Last year Niles Reddick wrote an article about Mary Poppins as the first female Christ figure in American film, and “Feed the Birds” as a “song-parable” that serves as the linchpin of the movie. While the world would have us pile up our coins in a bank vault, Jesus calls us, against the world’s wisdom, to give them away.
I love this movie. My mom says that from a young age she would play it for me, and I would sit mesmerized for the entire 139 minutes. I remember trying to soothe my baby brother many a time by singing “Let’s Go Fly a Kite.” Once we were elementary school–age, we would eagerly await the “Step in Time” scene, at which point we would rush to grab brooms from the garage, using them as props as we danced along with Dick Van Dyke—which sometimes ended in injury . . . Now as an adult, I can appreciate some of the movie’s deeper themes, and pick up on its resonances with the upside-down nature of Christ’s kingdom. Can’t wait to see the new Mary Poppins Returns next month!
WRITING CONTEST FOR UK TEENS:“Write on Art”: In an effort to get teenagers learning and writing about art, Art UK and the Paul Mellon Centre for Studies in British Art are co-sponsoring “Write on Art” for the second year in a row. Any kid between the ages of 15 and 18 who is enrolled in a UK school (Years 10–13) is eligible to enter to win up to £500 by submitting a short personal write-up (400–600 words) on any artwork in the UK’s national collection. “With a disturbing decline in the teaching of art and art history in schools, our Write on Art competition . . . is designed to highlight the importance of art as an academic discipline.” The website includes tips on how to write about art, including where to find relevant vocabulary and other resources. All entries must be submitted by January 31, 2019.
BOOK REVIEW:On Reading Well: Finding the Good Life through Great Books by Karen Swallow Prior, reviewed by Nick Roark: In September, Brazos Press released Prior’s latest book on reading widely and well, which received a starred review and a Best Book of 2018 in Religion from Publishers Weekly. I’m a big fan of her previous Booked: Literature in the Soul of Me, so I’m really looking forward to this one. “Covering authors from Henry Fielding to Cormac McCarthy, Jane Austen to George Saunders, and Flannery O’Connor to F. Scott Fitzgerald, Prior explores some of the most compelling universal themes found in the pages of classic books, helping readers learn to love life, literature, and God through their encounters with great writing. In examining works by these authors and more, Prior shows why virtues such as prudence, temperance, humility, and patience are still necessary for human flourishing and civil society.”
Purchase the book between now and Christmas, and receive a piece of free downloadable art by Ned Bustard. Instructions are on her website, https://karenswallowprior.com/.
NEW ADVENT/CHRISTMAS ALBUMS
Watches of the Night by Matt Searles: “Christian believers are like watchmen, longing to see the first rays of dawn. We long for the darkness of this world to be finally taken away, and the light of Christ to rise in all its splendour. This album is intended to help us as we wait; to lament the brokenness of this world, but to look to the riches of that which is to come. It is an album of longing, but also of profound hope. Light has dawned. Christ has been raised. But we await the full revelation of him in glory. We are still watchmen. Still waiting.
“This is not a loud album. It is one I hope you might be able to listen to if you lie awake unable to sleep, as I so often find the case. I pray it is an album that might help you – like David in Ps 63:6 – to meditate on God in the watches of the night. An album that will orient you to the future, and help you increasingly be someone whose mind is set on the city that is to come. Songs to help you fix your eyes on Christ, and long above all else for his return when we see him face to face.”
After the Longest Night: Songs for Advent, Christmas, and Epiphanyby Steve Thorngate: These fourteen songs are a mix of originals, including settings of the Lukan Canticles (the songs of Zechariah, Mary, and Simeon), and traditionals: “Creator of the Stars of Night,” “What Child Is This,” “Bright Morning Stars,” and “Let the Light of Your Lighthouse Shine on Me.” Best $7 I’ve spent in a while! (Purchase even includes lead sheets.)
One of the blogs I follow is Good Letters, run by Image journal and authored by a diverse, gifted team of spiritual writers. Updated each weekday, it features short personal essays that make fresh connections between the world of faith and the world of daily life. Here are a few posts from the past month that I particularly enjoyed.
“Beginner Ballet” by Melissa Florer-Bixler: Like the author, I too took a beginner’s ballet class at a late age (mid-twenties), and her words capture my felt experience so well:
I assumed ballet would be an interesting and different way to exercise, the chance to try a new fitness routine and to escape the general chaos of my life for an hour each week.
But in this dance class, the ballet one does in socks after work, I discovered that dance offers an aesthetic world, a way for me to discover new possibilities for my body. How strange it was to push my energy down a smooth line as my body sunk to the floor, to wonder over the shape of my fingers, to imagine a string lifting me up, off my toes, to float an inch above the gleaming rehearsal studio floor.
Everything in ballet was strength in the service of beauty. Even the language was beautiful. . . .
“The Ordinary Time” (poem) by Dana Littlepage Smith: I love Good Letters’ ongoing “Poetry Fridays,” in which a writer will introduce a poem with brief commentary. A few weeks ago Suzanne Nussey introduced this little gem in which the speaker learns through the observance of barnyard creatures how to slow down and be more attentive to life’s ordinary moments, how to enter God’s time. (The title references the liturgical season the church is currently in.) As she considers the birds, she sees how they work with joy, singing as they build, and are content just to be. The poem opens with a beautiful image and a subtle admonition:
Goldfish in the horse trough
nibble at morning’s surface.
They are not busy;
they are breathing.
“On Writing Odes: Taking Time to Celebrate”by Tania Runyan: Runyan has been doing a Good Letters teaching series on poetic forms—sonnets, sestinas, villanelles, and now odes, which are characterized by praise and celebration. Here she presents the ode “To Autumn” by John Keats as a choice example, and then shares one of her own, “Ode to a Bodhran Player.” (A bodhran is a traditional Irish drum.) She concludes with an assignment: “Find something that you love, or maybe even something you don’t, and regale it with an ode. Give yourself to the true, noble, lovely, and excellent practice of praise.”
“To Autumn” by John Keats
Season of mists and mellow fruitfulness, Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run;
“Emmy Watch: This Is Us”by Tania Runyan: Eric and I enjoy watching this TV show together and appreciate its complex portrayals of familial relationships: husband-wife, parent-child, and sibling (including siblings-in-law). Even within the parent-child category, different forms of parenthood are explored—biological, adoptive, and foster. Here Runyan writes about the show’s positive portrayal of open adoption, which is now more common in the US than traditional “closed” adoption. When Runyan and her husband adopted their son, Samuel, they chose the open option, which in their case means they deliberately entered into and maintain in-person relationships with Samuel’s biological family. (To read more about Runyan’s experience, see “He Fits Right In: Our Story of Open Adoption.”) Runyan shares a conversation she had with her son’s biological grandmother about the show.
The third season of This Is Us began September 25. It airs Tuesdays at 9 p.m. on NBC.
“Leonard Cohen’s Holy and Broken Hallelujah”by Alisa Ungar-Sargon: Leonard Cohen’s “Hallelujah” is one of the most-covered songs of all time, and it’s full of biblical references. (Like the writer, my first introduction to it was also as a preteen through the movie Shrek!) “The song’s central premise is the value, even the necessity, of praise in the face of confusion, doubt, or dread,” writes Ungar-Sargon, who led her high school English students in an analysis of its lyrics as poetry.
Here’s a cover by the husband-wife duo Gungor (that is, Michael and Lisa Gungor).
Advent begins December 2, and Christian resource providers have already started releasing content for the season so that you can start adapting and programming it into your church services or family devotional practices, if desired. Here are three sets plus a Kickstarter campaign that caught my eye.
from SALT PROJECT
SALT Project is a faith-based media company dedicated to creating beautiful visual content, especially video, for churches and other clients. Below are three of the five videos they’ve put together for Advent, which can be purchased and customized for church use. The videos feature a few products, like illustrated Advent calendar notecards (with daily tasks like “Deliver sweets to a neighbor” or “Write a thank-you letter to God”) and coloring pages and posters inspired by Mary’s Magnificat, available for download from SALT’s online shop.
I love their aesthetic! (These videos make me really excited for Advent.) I also appreciate how the devotional activities can be done either as an individual, a family, or a congregation. Click here to see a roundup of all five videos, and be sure to also check out Advent in Full Color, a devotional booklet that features poetry by Mary Oliver and Howard Thurman, daily practices, scripture texts, meditations on the season’s key theological themes, and coloring pages.
The cover story of the September 2018 issue of Reformed Worship magazine is “Advent in Narnia: An Invitation to Biblical Explorations Beyond the Wardrobe” by Cindy de Jong, which chronicles how seven different churches, including the author’s, used The Chronicles of Narnia last year to draw out some of the themes of Advent. In most cases this involved a six-week sermon series, or a service of lessons and carols, that integrated references to C. S. Lewis’s classic tale. At first I was skeptical of keying sermon series to a work of fiction, allegorical though it may be, but it turns out the worship service plans (reproduced in the article) were intelligently done, letting scripture drive and Narnia serve as a supplement to amplify God’s truth. One contributor even mentioned the need to be careful to not let Narnia be the focus; it can provide structural support but should not constitute the core of the sermon nor the worship service.
“The whole of Advent is this,” de Jong writes: “awaiting the birth of the Christ child in the same way we wait for the return of Christ’s kingdom. The whole of The Lion, the Witch, and the Wardrobe covers the same: waiting for Aslan and waiting for the triumph of Narnia.” Service plans, including songs, sermon titles and notes, Narnia references, and confessions, are included in the article with varying specificity. Though all drawing on the same text, there is a surprising diversity of approaches. Also included are ideas for how to decorate the sanctuary, how to engage children, and how to introduce the book and the sermon series to the congregation. Two additional books that are recommended are Advent in Narnia: Reflections for the Season by Heidi Haverkamp and The Lion’s World: A Journey into the Heart of Narnia by Rowan Williams.
Besides this eleven-page article, this month’s issue also includes an Advent reading for three voices by Joyce Borger, titled “What If . . . ?,” that reflects on the Flight to Egypt in light of today’s immigration debates, as well as an Advent worship service series that includes calls to worship, Advent readings, scripture texts, sermon themes and outlines, and song suggestions for five weeks’ worth of Sundays.
from ADAM FARBIARZ via KICKSTARTER
Designed for daily use during December, One Night: An Advent Calendar is a large foldout storybook that reimagines Luke’s nativity narrative through the eyes of a shepherd. Printed on heavyweight paper wrapped around millboard, the product takes the form of a freestanding triptych with twenty-four numbered doors that open to reveal snippets of story. I’ve seen the mock-up, and it looks like a really quality endeavor, something for the whole family to enjoy (it’s pitched to adults but accessible to children). Help the creative team fund printing costs by contributing to their Kickstarter campaign in exchange for your own calendar in the mail by the end of November. Text and direction by Adam Farbiarz, illustrations by Rachael Clarke Hendel, hand lettering by Rachel Farbiarz, and design by Lizzie Stone.
from THE HOMELY HOURS
These resources were published over the last few years, but I just found out about them this summer. Run by churchwomen from Christ the King Anglican Church in Dayton, Ohio, The Homely Hours is a website created out of a desire to encourage a deeper integration of the life of the church into the life of the home. It’s treated not so much as a blog (it’s not continually updated) as it is a repository, so search through the tabs and archives for creative ideas to celebrate the liturgical seasons in the domestic sphere.
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.
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.
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.
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”):
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.
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.
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.
(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.)
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.
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.
ANGLO-SAXON ASCENSION POEM: Excerpts from “Christ II” by Cynewulf, probably ninth century, translated from Old English by Eleanor Parker: Dr. Eleanor Parker lectures on medieval literature at Oxford University and runs the excellent blog A Clerk at Oxford, where she often shares her translations of Anglo-Saxon poetry, with commentary. The poem she shares here reflects on Christ’s ascension—the disciples’ grief, the angels’ joy. To me the most remarkable section is the one that, indirectly referencing a sermon of Gregory the Great, describes Christ “leaping” up to heaven, taking an active bound toward his homeland, a movement read in light of Song of Solomon 2:8: “Behold, he comes, leaping over the mountains, bounding over the hills.” This leap is one of six he took: from heaven (1) into Mary’s womb, (2) into a manger, (3) onto the cross, (4) into the tomb, (5) into hell, and finally, (6) back into heaven. “Prince’s play”! Parker pairs the poem with an exquisite, near-contemporary manuscript illumination, also from England; there’s also a lot of resonance between the poem and the Ascension image I published Tuesday by Bagong Kussudiardja, which shows a more balletic ascent.
UNDERWATER DANCE: “AMA,” a short film by Julie Gautier: This wonderfully expressive silent film shows French free diver and underwater artist Julie Gautier dancing in a single breath for several minutes inside the world’s deepest swimming pool, Y-40 Deep Joy in Montegrotto Terme, Padua, Italy, to a minimalist piano piece. The final shot shows Gautier slowing rising to the water’s surface while releasing a giant air bubble, her pose evocative of the crucified Christ (and her upward movement an Ascension of sorts!). Titled “Ama” (Japanese for “sea woman,” the name given to Japan’s pearl divers), the film is “dedicated to all the women of the world,” Gautier says. The choreography is by Ophélie Longuet.
Gautier and her husband, Guillaume Néry, a free-diving champion, own the underwater filmmaking company Les Films Engloutis. Their most well-known project has been a music video featuring Beyoncé, codirected by Gautier and starring Néry.
KICKSTARTER CAMPAIGN: Help Andy Squyres finance his next album: Andy Squyres is a super-talented singer-songwriter whose lyrics don’t stay in the shallows but, rather, dive into the depths of the faith experience. They are also supremely hope-filled. Below is a video of Squyres performing “Labor in Vain” at a house concert; the song is from his last album, Cherry Blossoms, which I reviewed here. Click on the boldface link above to hear Squyres discuss his new album project and to donate toward it.
ICON PAINTING COMPETITION: The Interparliamentary Assembly of Orthodoxy (IAO) is hosting an international icon painting competition on the subject of Christ’s Resurrection. “Our purpose is to explore and bring to the foreground the numerous stylistic trends in existence today, enabling the visualization of a creative dialogue with tradition and, at the same time, the personal artistic expressions of artists who reframe tradition without, however, digressing from the doctrinal framework of Christian icon painting set by the 7th Ecumenical Council.” The submission window is closed—there are sixty-three great entries!—and now it’s time to cast your vote. Five winners will be selected to receive cash prizes, the topmost being €3,000, and other honors. Popular votes will be taken into account by the twelve jury members, among whom are esteemed iconographers George Kordis from Greece and Todor Mitrovic from Serbia.
ESSAY: “On the Border of East and West: Searching for Icons in Lviv” by John A. Kohan: The latest issue of Image journal features a wonderful essay on the Lviv school of iconography (represented in entries #4, #10, and #20 of the above contest), a movement by young Ukrainian Greek Catholic artists to contemporize the Byzantine visual tradition. Written by John A. Kohan, an avid religious art collector and former Time bureau chief in Moscow (1988–1996), it discusses the political history of the city; the role of Metropolitan Andrey Sheptytsky (r. 1901–1944) in preserving and supporting art for future generations; the opening of the Iconart gallery in 2010 to nurture and promote the new style; the broad training these icon makers receive at the Lviv National Academy of Arts; and the uneven reception by others in the denomination (especially official church bodies), who tend to prefer their sacred art in the Radruzh School style or as contemporary Catholic kitsch. Kohan writes from his firsthand experiences meeting the artists and visiting their studios, churches, and exhibition spaces. The essay is available to subscribers only; click here to subscribe.
MET GALA + EXHIBITION: “Heavenly Bodies: Fashion and the Catholic Imagination,” May 10–October 8, 2018, Metropolitan Museum of Art, New York City: The largest exhibition ever mounted by the Met’s Costume Institute, “Heavenly Bodies” features both religious vestments from the Vatican and runway fashions by famous designers inspired by Catholicism. AFashionista reviewer who attended a preview reports on the integrated displays:
A reliquary arm of Saint Valentine is displayed alongside a breastplate and crown of thorns from Alexander McQueen’s Givenchy days; sacred music serves as the auditory backdrop for a Rodarte collection that features a dress inspired by Bernini’s famous sculpture Ecstasy of Saint Teresa. Rows of mannequins wearing Dolce & Gabbana, Moschino and Raf Simons show the ways that the silhouettes of the cassock and nun’s habit have been explored on the runway time and again. There are even vestments by the likes of Yves Saint Laurent and Riccardo Tisci that were expressly designed to dress statues of the Virgin Mary in chapels in Italy and France.
Each year since 1948, the opening of the Costume Institute’s spring exhibition has been celebrated with a huge fundraising gala attended by celebrities who dress to the theme; this year’s took place May 7. There were lots of crosses and haloes, but also some more particularized outfits. Ariana Grande’s gown was inspired by Michelangelo’s Last Judgment; Gigi Hadid’s, by stained glass. Selena Gomez carried a Coach handbag embroidered with Proverbs 31:30b: “A woman who fears the Lord is a woman who shall be praised.” The most brazenly dressed was Rihanna, who wore a gem-encrusted bishop’s miter (not a papal tiara, as has been commonly reported). Another standout headpiece was Sarah Jessica Parker’s, which featured a Neapolitan Nativity scene set inside a mini baldachin. (The making of elaborate presepi, or Christmas crèches, is a longstanding tradition in Naples, reaching its height during the eighteenth century.)
Lana Del Rey went as Our Lady of Sorrows, wearing an immaculate-heart chest plate pierced through with seven daggers; it was comical to hear religiously illiterate reporters trying to interpret the symbolism, saying things like the daggers are a “reminder to repent your sins or suffer damnation!” (Wrong. The swords symbolize the Virgin’s seven sorrows, beginning with Simeon’s prophecy.)
FLASH MOB: On Easter 2011 at City Mall in Beirut, Lebanon, a flash mob broke out singing the Paschal troparion in Arabic: Christ is risen from the dead, trampling down death by death, and on those in the tombs bestowing life! [HT: Global Christian Worship]
NEW PAINTING INSTALLED: James B. Janknegt is a Christian artist from Texas who is known for transposing biblical stories into contemporary American settings. He recently completed a large triptych for the new Unity Hall at Community First! Village in Austin, a planned community, developed by Mobile Loaves & Fishes, that provides affordable, permanent housing for the chronically homeless. (See the development and learn more about it in this short video, presented by MLF founder Alan Graham.) The painting shows Jesus in conversation with the “good thief” who, as he dies, acknowledges his crime and asks Jesus to “remember me when you come into your kingdom” (Luke 23:42). Behind him paradise flowers forth, indicating not only his new home but his inward regeneration. The other thief, by contrast, turns his head away in stubbornness. This episode demonstrates that repentance is always met by Christ with love, affirmation, and seeds of new life.
SHORT FILM: “Dance Dance” by French film director Thomas Blanchardevokes each of the four seasons through different elements acting on flowers, captured in either time lapse or slow motion. For fall, a rose is set on fire; for winter, foliage afloat in water becomes frozen in ice; for spring, lilies bloom; and for summer, colored inks hit the flowers and billow up in dusty clouds. Stunning images!
CHAIYA ART AWARD FINALIST: The inaugural Chaiya Art Award competition ended last month, with the winner taking home £10,000 and being exhibited, along with forty-one other juried selections, at London’s gallery@oxo March 29–April 9. The theme was “Where Is God in Our Twenty-First-Century World?”
One entry I really love is finalist Sheona Beaumont’s Natal, a photographic work that shows a nude pregnant woman standing against a dark wall in profile, her hair blown wildly by a gust of wind, opposite a corpse. These are two different spaces set in juxtaposition—two photos stitched together. The black-and-white photo of the dead body, on the left, is Fred Holland Day’s The Entombment from 1898, in which he himself posed as Christ, laid out on a bier before a doorway, his crown of thorns and titulus crucis on the ground beside him. Beaumont rotated this horizontal image 90 degrees clockwise so that the Christ figure is propped upright. She then posed her female model to form a sort of mirror image, but one full of vitality; the woman’s belly, the site of new life about to be born, is brightly lit. This combination photograph makes a powerful Holy Saturday image, one that hints toward resurrection as the stillness gives way to stirrings. The photo is also an allusion to the new life believers have in Christ, and in fact it forms the first in a new series titled Born Again. Visit Beaumont’s website to view the artwork and to read a bit about her process and the meaning the work holds for her.
EXHIBITION: “Zurbarán’s Jacob and His Twelve Sons: Paintings from Auckland Castle”: Last fall, Spanish Golden Age artist Francisco de Zurbarán’s Jacob and His Twelve Sons made its North American debut at the Meadows Museum in Dallas, traveling for the first time in centuries, and now the exhibition is at the Frick Collection in New York City—but only through the end of this week! Twelve of the thirteen paintings in the set are from Auckland Castle in County Durham, England, the residence of the eighteenth-century Anglican bishop Richard Trevor, who acquired them in 1756 and had them displayed in his dining room, where they have remained ever since. Trevor was outbid on the painting of Benjamin, however, which is on loan from Grimsthorpe Castle in Lincolnshire, reuniting the set for the first time since the paintings’ 1756 sale.
The iconography of the paintings is derived from the prophecies Jacob utters over each of his sons on his deathbed, as described in Genesis 49. For example, Judah, from whom “the scepter shall not depart,” holds said scepter and is regally draped in a gold brocade robe and fur that hint at his descendants kings David and Solomon (Zurbarán was the son of a haberdasher, and gave great care to the depiction of textiles); Dan, on the other hand, holds up a serpent on a stick, alluding to his craftiness. To view all the paintings, click here.
3-D SHOW: As of last month and through the end of July, Artainment Worldwide Shows, in cooperation with the Vatican Museums, presents “Giudizio universale: Michelangelo and the Secrets of the Sistine Chapel”by Marco Balich, an immersive 3-D show that brings to life Michelangelo’s Sistine Chapel frescoes inside the Rome Conciliation Auditorium. Half the room is covered, from the walls to the ceiling, with a 270-degree screen that projects extremely high-res photos of the paintings, dramatized through movement, music, lighting, sound effects, narration, live actors, and dance. Lasting sixty minutes, the show concludes with the thirteenth-century Latin hymn Dies irae (“Day of Wrath”), set to new music by Sting and arranged for chamber orchestra and choir by Rob Mathieson. Watch the trailer below, or click here to see some of the 3-D animation of the Last Judgment.
BOOK EXCERPT: “Reality, Art, and Prayer” by Thomas Merton: In this excerpt from No Man Is an Island (1955), Merton talks about “aesthetic formation,” about how “music and art and poetry attune the soul to God”—art that doesn’t perform that function, he says, isn’t worthy of the name! Some might think that the spiritual solution to overstimulated senses (so many images, so much noise) is to close our eyes and ears. But that’s not necessarily so, as Merton explains: “The first step in the interior life, nowadays, is not, as some might imagine, learning not to see and taste and hear and feel things. On the contrary, what we must do is begin by unlearning our wrong ways of seeing, tasting, feeling, and so forth, and acquire a few of the right ones.” Yes! This is what I was trying to get at in my essay “Disciplining our eyes with holy images.”
KICKSTARTER CAMPAIGN: Songs for the Sojourn by Bellwether Arts: The same liturgical arts initiative that brought you this Advent/Christmas package is now poised to release a set of songs, visual art, and prose devotions inspired by the Bible’s “psalms of ascent,” which were likely sung by Jewish pilgrims as they ascended the road to Jerusalem for their three major annual festivals. At the head of the project is Bruce Benedict, founder of Cardiphonia, who in 2010 received a grant from the Calvin Institute of Christian Worship to commission songwriters and visual artists to help his congregation explore, through their respective disciplines, these fifteen psalms (read his application here). The project was so enriching to those involved that he recently decided to expand it to include even more songwriters, painters, and writers—the fruits of which are being made available to the public as a double-disc album, songbook, and art-filled devotional book.
While the songs have been recorded, Bellwether needs your help to finance the mixing, mastering, and disc pressing and the printing of the other two products, as well as to pay the new artists involved. Pledging money in exchange for a reward (essentially, placing a preorder) is a tangible way to support the project. Visit their Kickstarter page for more information or to make a pledge. Campaign ends March 23.
(For other artistic responses to Psalm 133, see this artful devotion featuring the Psalter Project and a William Walker mural, and the poem “Aaron’s Beard” by Eugene Peterson.)
POEM CYCLE:“A Small Psalter” by Pádraig J. Daly: I really love this contribution in the current issue of Image journal—twenty-two modern-day psalms by Irish poet-priest Pádraig J. Daly. Like the biblical psalms, these poems express a range of emotions and postures before God, from sorrow and frustration to joy and awe. Here’s #12:
We are numbed, Lord, by number;
But you, being Other, know
Each single form that kneels at night,
Each heart enchanted by a meadow;
And hear our joys and heed our sighs.
And all we have and are, as we come naked here—
The very self of us!—
Comes from no thing in us
But from you, who make in us an emptiness
That you alone suffice.
FILM: Loving Vincent, dir. Dorota Kobiela and Hugh Welchman: The Oscars are the only occasion of the year that I watch live TV, and I’m really looking forward to the show this Sunday. One of the nominations for Best Animated Feature is the world’s first fully oil-painted feature film, Loving Vincent, a biographical drama about the mysterious Vincent van Gogh. While most reviewers say the narrative content is forgettable, they hail the film’s innovative production methods and visual achievement as nothing short of amazing. Funded by Kickstarter, a team of 125 classically trained artists from various countries painted 65,000 frames in the style of the Dutch master (many of the final canvas paintings were exhibited at the Noordbrabants Museum last year), and actors were cast who had a physical resemblance to van Gogh’s portrait subjects (e.g., Chris O’Dowd as Postman Roulin!). To view the paintings and learn more about the filmmaking process, visit LovingVincent.com, and see the trailer below.
VISUAL MEDITATION: “Behold the Broken, the Bruised” by Victoria Emily Jones: Speaking of van Gogh . . . Last week I wrote a reflection for ArtWay on the mixed-media sculpture After Van Gogh by Mad River Wiyot artist Rick Bartow (1946–2016). The primal wail of the figure expresses the artist’s psychological wounds, as a person with PTSD, and the communal wounds of his people, as well as invokes the famously troubled postimpressionist of its title. To me it also evokes Jesus’s cry of dereliction on the cross: “My God, my God, why hast thou forsaken me?”
Also, I’ve been writing Lenten art reflections for GiftofLent.org, one for each Monday of the season (through March 25). This week’s is on Kris Martin’s Altar, a steel replica of the Ghent Altarpiece framework, installed on a Belgian beach. Click on the link to read more.