>> “Jesus Is Alive” by Ron Kenoly,performed in Japanese by Ruah Worship: Ruah Worship is a vocal ensemble made up of four siblings from Japan: (from left to right in video) Joshua Mine, Julia Mine, Erika Grace Izawa (née Mine), and Marian Mine. Here they sing an a cappella arrangement of a Ron Kenoly song, translated into Japanese by Hiromi Yamamoto and Kazuo Sano. Click on the “CC” (closed captioning) button for English subtitles. [HT: Global Christian Worship]
Their harmonies are wonderful! And they have lots of great videos on their YouTube channel, a mix of original songs and songs translated from other languages or written in Japanese. For another Easter-themed song they’ve recorded, see “Because He Lives.”
>>“I Went to the Garden” by Sam Hargreaves: Written in a bluegrass style from Mary Magdalene’s perspective, this song was released this year as part of the Resurrection People resource from the UK organization Engage Worship, where you can find downloadable videos (songs, webinars), sheet music, and church service outlines that include prayers, all-age ideas, readings, poems, sermon outlines, responses, and more. Sam Hargreaves is on lead vocals and acoustic guitar, Timo Scharnowski is on backing vocals and percussion, and David Hyde is on banjo and slide guitar.
ART COMMENTARY: The Sherborne Missal: On this episode of the BBC Radio 4 program Moving Pictures, host Cathy Fitzgerald talks with art historians Alixe Bovey, Kathleen Doyle, Eleanor Jackson, and Paul Binski and scribe and illuminator Patricia Lovett about a page from the medieval illuminated Sherborne Missal that introduces the Mass for Easter Sunday. Made for the Benedictine abbey of St. Mary’s in Sherborne, Dorset, around 1400, this Christian service book amazingly survived the pillaging of the English Reformation intact.
At the top is the historiated initial “R” for Ressurexit, with Christ emerging from his tomb. An elaborate border around the page contains scenes from the Old Testament, portraits of prophets, a bestiary-inspired scene, angels, birds, plants, fantastical knights, and two wodewoses (wild men) engaging in a bizarre confrontation. Such imagination! Learn why a daddy lion breathing on his cubs signified resurrection to the medieval mind, and in what sense Samson and Jonah are “types” of Christ.
“The thing to grasp about medieval art,” Binski says, “is that they don’t have the same categories and boundaries that we do. We have quite defined boundaries around what’s comic and what’s tragic, and what’s serious and what’s lightweight. In the Middle Ages, serious things and playful things accompanied one another; they were all part of the same thing.”
CALL FOR ENTRIES:Chaiya Art Awards 2022/23: Submissions are now open—UK residents only—for this biannual competition on spiritually inflected visual art, this time on the theme of “Awe and Wonder.” In addition to the usual exhibition space for the longlisted finalists at London’s gallery@oxo, Chaiya has secured a second venue, the Bargehouse, which will allow for larger-scale artworks and installations. The top prize is ₤10,000. Deadline: August 31, 2022.
CIVA TRAVELING EXHIBITION: Heads, Faces, and Spiritual Encounter: Drawn from the collection of Edward and Diane Knippers and available for rental, this exhibition comprises forty-some artworks that all focus on the human face. There are works by modern heavyweights like Henri Matisse, Marc Chagall, David Alfaro Siqueiros, Georges Rouault, and Eric Gill, along with a few seventeenth-century portraits, African masks, and works by contemporary artists of faith. I saw the exhibition in Austin, Texas, in November and was really moved. Click on the link to browse the art and to inquire about rental.
For the first time, this year I plan on publishing short daily posts for the entirety of Lent and for the Octave of Easter, pairing a visual artwork with a piece of music along the seasons’ themes (for an example of this format, see here)—just an FYI of what to expect. I also have several poems lined up. And you might want to check out the Art & Theology Lent Playlist and Holy Week Playlist on Spotify (introduced here and here respectively), which I’ve expanded since last year. I’m very pleased with the Holy Week Playlist in particular.
NEW RESOURCE FOR HOME LITURGIES:The Soil and The Seed Project: Directed by Seth Thomas Crissman of The Walking Roots Band [previously] and with the contributions of a team of artists, writers, and musicians, “The Soil and The Seed Project nurtures faith through music, art, and Little Liturgies for daily and weekly use in the home. These resources help establish new rhythms of faith as together we turn towards Jesus, believing and celebrating the Good News of God’s Love for the whole world.” The project launched in November 2021 with its Advent/Christmas/Epiphany collection. When the project is complete it will consist of four volumes of music (forty-plus songs total—all original, save for a couple of reimagined hymns) and four liturgical booklets that include responsive scripture-based readings, reflection prompts, suggested practices, and an original artwork.
Thanks to a community of generous donors, The Soil and The Seed Project gives away all its content for free, including shipping, to anyone who is interested (individuals, couples, families, churches, etc.); request a copy of the latest music collection and liturgies here. CDs and printed booklets are available only while supplies last (1500 copies have been pressed/printed for this collection), but digital copies of course remain available without limit.
CONVERSATIONS AT CALVIN: Below are two videos (of many!) from the 2022 Calvin Symposium on Worship, which took place earlier this month.
>> “Modern-Day Prophets: How Artists and Activists Expand Public Worship” with Nikki Toyama-Szeto: A writer, speaker, and activist on issues of justice, leadership, race, and gender, Nikki Toyama-Szeto is the executive director of Christians for Social Action and a leading voice for Missio Alliance. Here she is interviewed by preacher and professor Noel Snyder. They discuss the generativity of imagination, and its invitation to displacement; the connection between corporate worship and public witness; the movement of the Holy Spirit outside church walls; “political” and “pastoral” as classifications that differ from group to group; embracing messiness; and what pastors can learn from artists and activists.
A few quotes from Toyama-Szeto that stood out to me:
“Part of what we’re trying to do at Christians for Social Action is stir the Christian imagination for what a fuller followership of Jesus looks like in a more just society. The word ‘imagination,’ and I would say specifically Christian imagination, I think of as the dream that God dreams for his people and his creation. What does it mean to be oriented toward the dream that God is dreaming? Another word for it is shalom—the full flourishing of all his creation and all his people. And if you look at the gap between where we are today and what that dream is, that gap is imagination. How is it that we get from here, the broken world we see . . . how do we press in and lean into the dreams that God dreams for his people and for his world?”
“For me, I have found artists and prophets—those who are agitating for justice—are ones who help dislodge me from everyday things I take for granted, and those assumptions, and they help me to dream new and bigger dreams.”
“The pursuit of justice is the declaration of God’s character in the public square.”
Smith shares his frustration that often the only Christians who endeavor to learn other languages and develop cultural intelligence and appreciation are those who are preparing to be missionaries in a foreign country, and they do it only for the purpose of missional effectiveness.
If you take one piece of theology [i.e., evangelism] and try and make that the bit that’s about cultural difference, that puts distortions into the conversation. . . . You might want to think about mission, but you might also want to think about what it means to be made in the image of God. Does that mean everyone’s the same, or does it mean everyone has responsibility for shaping culture and we might all do it in different ways, and you have to make space for that? We might need to think about the cross. We might need to think about God’s embrace of us and how we embrace each other. We might need to think about love of neighbor. We might need to think about the body of Christ and the makeup of the early church. . . . You might have to visit a whole bunch of different theological places to get a composite picture rather than saying this is the doctrine that somehow solves cultural difference for us.
I was also struck by Smith’s discussion of how cultural difference can help us read the scriptures in a new way (see 19:38ff.). He gives an example from In the Land of Blue Burqas, where Kate McCord, an American, describes her experience reading the Bible with Muslim women from Afghanistan, and particularly how they taught her a very different interpretation of John 4, the story of Jesus’s encounter with the Samaritan woman at the well. Wow.
VISUAL COMMENTARY ON SCRIPTURE: The Transfiguration: In churches that follow the Revised Common Lectionary, this Sunday, the last Sunday in the Epiphany season, is Transfiguration Sunday, giving us a vision with which to enter Lent. (Other traditions celebrate Jesus’s transfiguration on August 6.) In this video from the Visual Commentary on Scripture project, art historian Jennifer Sliwka and theologian Ben Quash discuss this New Testament event through three visual artworks: a fifteenth-century icon by Theophanes the Greek, which shows the “uncreated light” revealed to Peter, James, and John on Mount Tabor; a fresco by Fra Angelico from the wall of a friar’s cell in Florence, where Jesus’s pose foreshadows his suffering on the cross; and a contemporary light installation by the seminary-educated American artist Dan Flavin, comprising fluorescent light tubes in the shape of a mandorla. Brilliant!
CIVA TRAVELING EXHIBITION: Again + Again, curated by Ginger Henry Geyer with Asher Imtiaz: “A photography exhibition that invites recurring and fresh contemplation of the ordinary and extraordinary through the seasons of the Christian liturgical calendar,” sponsored by Christians in the Visual Arts. The show will be on view at Second Presbyterian Church in Indianapolis from February 26 to March 26 and is available for rental in North America after that. I saw it at St. David’s Episcopal Church in Austin in November at the CIVA biennial and was impressed! It is accompanied by a beautifully designed catalog that pairs each photograph with a poem, several of which were written specifically for the exhibition and which respond directly to a given photo.
One of my favorite art selections is Mount Tabor, June 2017 by Michael Winters, the director of arts and culture at Sojourn Church Midtown in Louisville, Kentucky. “Mount Tabor . . . is where the transfiguration of Christ is thought to have occurred,” Winters writes. “I stood viewing that scene in 2017. It looked so normal. I’m not sure why I felt compelled to punch holes in this photograph, but I think it’s because I wanted to be able to see through this ‘normal’ landscape to the glory of the transfigured Christ—which is to say, I wanted to see reality.”
>> (Virtual) Christian Fellowship of Art Music Composers, October 23, 2021: The CFAMC is soliciting videos of live musical performances (or works designed with videography), original hymns, and papers. Twelve art music pieces will be chosen to be shown at the conference, followed by conversations about each, as will three hymns, to be sung during a time of worship.
>> (In Person) Transcend, CIVA Biennale, November 4–6, 2021, Austin, Texas: I’ll be attending! “Beauty is compelling. It binds itself to the Truth and the Good in such a way that, as Dante said, ‘Beauty awakens the soul to act.’ It moves us from the rooted realities of canvas, clay, notes, or language into the transcendental nature of God Himself, our Beautiful, True, and Good Creator. Join CIVA [Christians in the Visual Arts] as artists, pastors, curators, and cultural leaders explore the divine spark of the image of God in each of us that initiates and propels our journey to perceiving anew an intuitive, expressive, and fulfilling reality.” The conference will include a juried art show, plenary talks, paper presentations, times of worship, workshops, portfolio reviews and mentoring sessions, author signings, “explore groups” around the city (I signed up for the Blanton Museum of Art and Ellsworth Kelly’s “Austin”), and artists’ show and tell.
It can be so illuminating to hear an artist discuss their work—their influences, their process, how particular artworks came about. Below are two virtual talks I attended last month and really enjoyed, both by artists who are Catholic.
>> Jyoti Sahi, June 19, 2021: In this virtual talk organized by the UK-based organization Christians Aware, my friend Jyoti Sahi [previously] shares several of the paintings he has produced during the past year in quarantine in and around his home in Silvepura Village in Karnataka, South India, inspired by the local landscapes and vegetation. Over the years Jyoti has developed a Christian spirituality that is very earthy, one that sees the natural world as reflective of, and even participating in, the divine mysteries. His Jesus is in and of the land. Images start at 11:20.
In his recent body of work, Jyoti shows, among other things:
Jesus being born in a makeshift encampment beside a kere (manmade lake), among the brick kilns, a child of migrant laborers.
Jesus giving a sermon in a sacred grove underneath a yellow bodhi tree, where herdsmen graze their flocks. The snake-stones, erected by the Adivasi (tribal peoples of India), allude to healing and to Jesus’s being lifted up on the cross like the serpent on Moses’s staff (John 3:14–15; cf. Num. 21:4–9).
Jesus entering Jerusalem, his face gloriously framed by palm fronds. He’s reminiscent of the leafy-headed Green Man present in the mythologies of many ancient cultures but found particularly in medieval English church carvings.
Christ crucified in the palash tree, the “flame of the forest.” (Jyoti notes that in the Sanskrit epic poem the Mahabharata, the hero’s wounds are compared to the flowers of the palash tree.)
Jesus in the garden of the resurrection, standing in front of a flowering datura tree, which is poisonous but also medicinal. (“Poison can be a way of discovering healing,” Jyoti says—a truth that has implications for a theology of the cross.)
The journey to Emmaus, showing two of Jesus’s disciples entering the garden, a metaphor for wholeness or home.
>> “Gift Paintings: The Invitation to See Anew” with Patty Wickman, June 24, 2021: As part of its Art & Faith series, Holy Family Church in South Pasadena, California, hosted a virtual talk by one of its members, Patty Wickman [previously], a nationally exhibited artist and longtime professor in UCLA’s art department. Her paintings are figural, and she describes several of them as “gifts,” sparked by things like the discovery one of her mother’s unusual rest rituals, encounters with unhoused persons in San Jose, a cut-paper environment inside a Disney World ride, flea market finds, a plate of dirt her young daughter served her, and a little boy’s eating apples stark naked on a hot summer day in her backyard.
Among her influences are Shaker gift drawings and worship spaces; Victorian hair wreaths; the illuminations of Hildegard of Bingen; performance art pieces by Joseph Beuys, Chris Burden, and Ana Mendieta; Cindy Sherman’s photographic self-portraits; and historical religious paintings by Fra Angelico, Piero della Francesca, Georges de La Tour, Geertgen tot Sint Jans, Caravaggio, and others.
At twenty-four minutes in she starts discussing her own work, with reference to specific artworks that informed her. Compare her Entheos, for example, to Caravaggio’s Crucifixion of Saint Peter; her Struggle Garden to frescoes by Giotto of Anne and Joachim at the golden gate, and Judas betraying Jesus in Gethsemane; and her A Thief in the Night to Peter Menzel’s Material World project. When her early days of motherhood prevented her from having the time to plan and execute large-scale paintings like these, she painted smaller, quicker works—daily during Lent—with subjects including dust bunnies, daddy longlegs, a stick of incense, and a birdbath with the first blooms from her camellia tree having fallen inside. Her work has a sacramental quality to it that’s really compelling.
The last half-hour of the video is Q&A.
ARTICLE: “Artful Discipleship: The Role of the Arts in Spiritual Formation” by Carolyn Arends: Singer-songwriter Carolyn Arends discusses four ways the arts are important in our training to follow Jesus: (1) the arts help us train to pay attention; (2) the arts help us train in longing; (3) the arts help us train for the renewing of our minds; and (4) the arts help us train to appreciate things (and especially people) for more than their “usefulness.” She closes with a list of suggestions for practicing intentional engagement with the arts.
This is part two of a three-part series based on some of my art encounters at the Christians in the Visual Arts conference held June 13–16, 2019, at Bethel University. This post covers a handful of notable artworks I was introduced to through slides; part three will cover art I experienced in person through the conference’s exhibitions and auction. Read part one, about the Sacred Spaces tour of Minneapolis, here.
In his introductory remarks to the 2019 CIVA conference, Chris Larson cited Lauren Bon’s Artists Need to Create on the Same Scale That Society Has the Capacity to Destroy, the eponymous work of the Brooklyn Rail–curated exhibition running through November 24 at the church of Santa Maria delle Penitenti in Venice, a collateral event of the Venice Biennale. It’s a great rallying quote, one that I hadn’t heard before but that I can really get behind.
The theme of the conference was “Are We There Yet,” a deliberately broad question which I took as referring to the conversation between serious art and serious faith, which CIVA has been heavily engaged in over its forty-year history. We talked about where “there” is and unpacked other aspects of the conference title, but I’m sidestepping those discussions to focus on the visual.
Wayne Roosa oriented our gathering by introducing us to two conceptual art projects by Simon Starling that offer opposing archetypes of the journey. The first, more aspirational one is Shedboatshed(Mobile Architecture No. 2), which involved the movement of a wooden shed from one Swiss riverside location to another. “This journey of 8 km downstream from Schweizerhalle to the centre of Basel was undertaken through the temporary mutation of the shed into a boat. This boat, a copy of a traditional Weidling, was made only with wood from the shed and was subsequently used as a transport system for the remaining parts of the structure. The shed already included an oar of the type used on Weidlings nailed to its facade as decoration. In its new location, the Museum für Gegenwartskunst, the boat was then dismantled and once again re-configured into its original form, but for a few scars left over from its life as a boat, it stands just as it once did several kilometres up-stream” [source].
“What I’m doing in a gallery situation,” says the artist, “is presenting a journey that I’ve been on, a process I’ve undertaken, and I’m asking for people to look at that in reverse. The circularity of many of the projects is a device to tell a story and it means that if you’re making a work about process, if you start and end in the same place, then somehow the journey becomes the important thing.” I think of lines from T. S. Eliot’s “Little Gidding”: “What we call the beginning is often the end / And to make an end is to make a beginning. / The end is where we start from”—and further down, “And the end of all our exploring / Will be to arrive where we started / And know the place for the first time.”
The second Starling work we considered was Autoxylopyrocycloboros, “a four-hour entropic voyage made across Loch Long [in Scotland] on a small wooden steamboat fuelled by wood cut piece-by-piece from its own hull.” This theatre of destruction ends with the boat’s debris floating—or sinking, as it were—in the water, Starling and his crewmate bobbing in their life vests somewhere out of frame. (The journey is presented in gallery settings as a series of thirty-eight color transparencies.) The title is an extrapolation of “ouroboros,” the mythical serpent who eats his own tail.
Roosa suggested that as we navigate the waters, we can either self-destruct, eating ourselves alive, or we can deconstruct and then reconstruct. As an organization, we ought to be committed to the latter—taking apart the structure we started with and putting it back together.
Over two and a half days of conference, there were several artists’ panels that brought to the fore some truly exciting work. I especially enjoyed hearing artists Sedrick and Letitia Huckaby, a married couple, discuss their different artistic media, styles, content choices, and creative processes, and the way their work interacts with the other’s. Both explore themes of family, faith, and African American heritage.
Sedrick Huckaby is a painter, draftsman, printmaker, and sculptor known for his portraits. His earliest body of work is a series of impasto paintings of his maternal grandmother, Hallie Beatrice Welcome Carpenter (“Big Momma”), inside her old wood-framed house in Fort Worth, Texas. These are so tender—they show her resting, drinking coffee, reading her Bible, getting ready for church, talking with family. After Big Momma died, he continued making in absentia portraits of her by depicting accessories she wore or household spaces that bear her imprint—The Shoes She Wore, The Altar Dresser. Sedrick is now renovating Big Momma’s house to serve as a creative project space for the neighborhood.
Family has long been the primary subject of Sedrick’s art. I love the 2006 portrait he painted of his wife seated at the foot of their bed and holding their firstborn son, Rising Sun. Mother and child are surrounded by family quilts, made by aunts and grandmothers. The opening between the two wall-hanging quilts forms a square halo around Letitia’s head.
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”→
Here is a list of upcoming arts conferences and retreats. I will be attending the CIVA conference next month as well as the DITA conference in September—if you’ll be at either, please let me know; I’d love to meet you!
All Things New (International Arts Festival) Date: June 15, 2019 Location: Waterras Common Hall 3F, Tokyo, Japan Cost: ￥2500 (about $22) Presenters: Joshua Messick, Gerda Liebmann, Christopher Elmerick, Roger Lowther, and more Organizer:Community Arts Tokyo (with additional sponsorship by Grace City Church Tokyo) Description: “How can people in a city experience personal, social, and economic flourishing? What is the role of artists in making this world a better place? How can faith, work, and the arts come together for a holistic view of peace for the good of mankind? At this conference, we will hear from artists in the business world, the media world, and the plight of refugees from other countries. Their stories will give us a vision for how the arts point a way to new beginnings and bring goodness and hope into a broken world. Join us as we enter this world through speaker presentations, music performances, a short film, gallery exhibits, small group discussions, and more!” (Note: Presentations in Japanese will have simultaneous English translation over the wireless earphone system.)
The festival will include presentations/workshops/performances by
hammered dulcimer player Joshua Messick, who contributed to the soundtrack of the Japanese animated fantasy film Mary and the Witch’s Flower
visual artist Gerda Liebmann, on how art can foster relationship and connection
Christopher Elmerick, who founded and runs a cultural center in Berlin that promotes the free exchange of ideas through shared work- and performance spaces and more
Megumi Project, a group of women artisans who upcycle vintage kimonos into shawls, scarves, bags, journals, and other accessories
the Charis Chamber Players
organist Roger Lowther, on the physics of music
Roger Lowther is, with his wife Abi, the founder and director of Community Arts Tokyo, “a team of artists, professionals, and Japanese nationals assisting church planting through outreach, discipleship, worship, and disaster relief.” Their work is supported through Mission to the World, the international missions arm of the Presbyterian Church in America (PCA).
Are We There Yet? Date: June 13–16, 2019 Location: Bethel University, St. Paul, Minnesota, USA Cost: $350 for nonmembers; $300 for members Presenters: Sedrick Huckaby, Letitia Huckaby, Hawona Sullivan Janzen, Chris Larson, Rico Gatson, Nate Young, Linnéa Spransy, Cara Megan Lewis, Rev. Babette Chatman, Jamie Bennett, Joanna Taft, Kelly Chatman, Joyce Lee, Caroline Kent, Lyz Wendland, Betsy Carpenter, Amanda Hamilton, Catherine Prescott, Vito Aiuto, and others Organizer:Christians in the Visual Arts (CIVA) Description: “If you’re anything like us, working in an age of high anxiety and disruption has been trying. At the same time, the art world has never seen more diversity, wealth, interconnection, and popular appreciation. Some experience our current creative conditions as a ‘joyful noise,’ others a ‘resounding gong.’ This makes art difficult yet at the same time crucial. With our hope rooted in the Lord, we can rejoice in the unfinished state of our work. There is still so much to be made!
“Are We There Yet invites us to inhabit questions together: What are our shared pursuits? What practices and commitments can guide us in our work and collaboration? What would radical generosity do to the global art market? And how might we be participants in making ‘impossible things possible,’ as described by curator Hans Ulrich Obrist? With a commitment to hospitality, we will ask these questions and many more.”
The conference will consist of plenary talks, panel discussions, and breakout sessions and will include a juried art show, late-night artist show & tells, optional day-ahead tours (art museums, city architecture, or sculpture garden) or workshops (printmaking or photography), a Liz Vice concert, and an ecumenical worship service.
Visual Arts Retreat Date: June 21–23, 2019 Location: Apple Hill Lodge, Moravian Falls, North Carolina, USA Cost: $450 (includes lodging, food, and class materials) Presenters: Allison Luce, Corey Frey, Ty Nathan Clark (via satellite), Stephen Roach, Thomas Torrey, Lauren Olinger Organizer:The Breath & the Clay Description: “Come get away for a weekend designed to inspire and deepen your understanding of visual art both as a spiritual practice and as an art form.”
Vocation, Motherhood, and Artmaking Date: July 25–28, 2019 Location: Laity Lodge, Leakey, Texas, USA Cost: $495 (scholarships available) Presenters: Andi Ashworth, W. David O. Taylor, Letitia Huckaby, Phaedra Taylor, Sandra McCracken, Ashley Cleveland Organizer:Laity Lodge Description: “This retreat is an invitation to explore the opportunities and challenges that are involved in the twin calling to motherhood and artmaking. It is open to mothers in all stations and circumstances of life, whether at the beginning of motherhood or in the fullest years of grandmothering, and to artists of all media, disciplines and contexts.” (Read more from David Taylor.)
Kingdom Creatives Con Date: August 3, 2019 Location: National Union Building, Washington, DC Cost: $99 Presenters: Noah Elias, Othello Banaci, Rachel Petrillo, Anifa Mvuemba, John David Harris, Ryan Han, Andrew Hochradel Organizer: Bemnet Yemesgen Description: A conference “aimed at igniting inspiration, learning, and networking in the Christian creative community. . . . Attendees will enjoy workshops and talks by creatives from diverse backgrounds and industries. The conference is specifically tailored towards creatives who love Jesus Christ . . . graphic designers, illustrators, photographers, filmmakers, developers, animators, copywriters,” etc.
New York City Arts Weekend Date: August 9–10, 2019 Location: Various venues, New York, USA Cost: $295 CAN Presenters:Makoto Fujimura, Iwan Russell-Jones Organizer:Regent College (host: Jeff Greenman) Description: “Makoto Fujimura and Iwan Russell-Jones lead this exploration of Christian faith and the visual arts in New York City. Enjoy a fascinating tour of the Metropolitan Museum of Art and participate in shared meals, stimulating presentations, and challenging conversations. Develop a deeper understanding of how creativity finds its place in the new creation.”
Creation and New Creation: Discerning the Future of Theology and the Arts Date: September 5–8, 2019 Location: Duke University, Durham, North Carolina, USA Cost: $175 (student discounts available) Presenters: Jeremy Begbie, Malcolm Guite, Christian Wiman, N. T. Wright, Natalie Carnes, Jennifer Craft, Carlos Colón, Steve Prince, Bruce Herman, Judith Wolfe, and others Organizer:Duke Initiatives in Theology and the Arts (DITA) Description: “At DITA10, we will celebrate past scholarship, reflect on today’s landscape, and imagine with tomorrow’s leaders.” The colloquium will include keynote lectures; workshops for church leaders and artists addressing the challenges of theology and the arts in the church and in our daily lives; panel discussions with artists and theologians; a concert by the New Caritas Orchestra; and a corporate worship service.
The Future of the Catholic Literary Tradition (Catholic Imagination Conference) Date: September 19–21, 2019 Location: Loyola University Chicago, USA Cost: $150 Presenters: Tobias Wolff, Alice McDermott, Paul Schrader, Dana Gioia, Paul Mariani, Richard Rodriguez, Angela Alaimo O’Donnell, and others Organizer:Hank Center for the Catholic Intellectual Heritage Description: “This international biennial conference, sponsored by Loyola’s Hank Center, features over 60 writers, poets, filmmakers, playwrights, journalists, editors, publishers, students, and critics who will explore a variety of questions surrounding the Catholic imagination in literature and the arts. What is the future of the Catholic literary tradition? What is the state of discourses in faith and Christian humanism in a world increasingly described as ‘Post’—postmodern, post-human, post-Christian, post-religious? How is Catholic thought and practice (or the absence of it) represented in literature, poetry, and cinema? If, as David Tracy observes, religion’s ‘closest cousin is not rigid logic, but art,’ what might literary art be trying to communicate to its ‘cousin’—and to us all—as we travel along the first decades of the 21st century?”
The call for papers is still open, until June 15. Also check out some of the special events being offered, which will include a theatrical performance of Flannery O’Connor’s Everything That Rises Must Converge and an evening of poetry readings, live music, and a Chicago blues panel.
Writer’s Retreat Date: October 25–27, 2019 Location: Apple Hill Lodge, Moravian Falls, North Carolina, USA Cost: $450 (includes lodging and food) Presenters: TBA Organizer:The Breath & the Clay Description: “Come get away for a weekend designed to develop your writing both as a spiritual practice and as an art form.”
The Art of the Lost: Destruction, Reconstruction, and Change Date: November 27–29, 2019 Location: Canterbury Cathedral, England Cost: £175 for full conference (single-day tickets also available) Presenters: Sandy Nairne, Simon Cane, James Clark, Ascensión Hernández Martínez, Emma J. Wells, and others Organizer:Canterbury Cathedral Description: “This conference will explore and appraise current and developing studies of how art changes, is reused or repurposed, disappears or is rediscovered. It will look at how and why art is defaced, destroyed or is lost within architectural settings, with a particular focus on art within the context of cathedrals, churches or other places of worship. It will consider changing ideologies, iconoclasm, war, fashion and symbolism. It will cover art from the 6th century to the modern day.”
There are many people and organizations committed to integrating faith and the arts, and they often organize opportunities for public participation. Here are some such opportunities being offered this spring and summer, organized by date. The last one, a weeklong course taught by David Taylor, looks especially appealing to me and my context, and I’m considering registering.
A few early-bird registration/application deadlines are coming up very soon, on March 31, so give these a gander sooner than later. Click on the links for information on schedules/syllabi, speakers, accommodations, and fee breakdowns. Room and board are not included in the cost quotes I’ve listed unless specifically noted.
If you’re reading this post sometime after spring 2017, or the application deadlines are too tight for you, you’ll be pleased to know that some of these events occur yearly, and if not, you’re sure to find similar ones. Check out the websites of the organizing bodies to see what they have going on.
Title:“Art and Theology” (course) Dates: March 26–29, 2017 Location: Ripon College Cuddesdon, Oxford, England Organizer:Art and Christianity Enquiry (ACE) Cost: £225 (~ $280 US) (includes room and board) Instructors: Christopher Irvine; Alison Milbank; Sophie Hacker; Stephen Stavrou; Laura Moffatt Description: “This short course is designed to give participants the opportunity to both engage with Christian art and to reflect through class presentations and discussion how art is perceived. Each day will balance theoretical input with visits to see art in churches, galleries, and chapels in Oxford. We will examine the contexts in which Christian art is viewed, suggest ways of how we may reflect theologically on contemporary art, and look at the place of art in churches within its architectural and liturgical context.” (I’m intrigued by the lecture title “Museums and Galleries as a Theological Resource”!)
Title:“Lux Ecclesiae: The Light of the Church” (lecture series) Dates: April 25–29, 2017 Location: Paraclete Retreat House, Cape Cod Bay, Massachusetts, USA Organizer:Community of Jesus Speakers: Msgr. Timothy Verdon; Filippo Rossi Cost: $1,000 (includes room and board; single-lecture options available) Description: “Practically from the beginning of its history, the Church has used architecture and the visual arts to express its life, investing thought, creative energies and resources. The reasons for this choice are theological and pastoral, but also anthropological: human beings want to ‘see’, are frustrated if they cannot see, define ‘seeing’ as understanding (as when, grasping a point, we say, ‘I see’), and desire above all things to see the God who, invisible in himself, became visible in Jesus Christ.” Monsignor Timothy Verdon, academic director of the Mount Tabor Ecumenical Centre for Art and Spirituality in Barga, Italy, will develop these themes in a series of seven lectures, and sacred artist Filippo Rossi will give a talk as well.
Title:Movies and Meaning Festival Dates: April 27–30, 2017 Location: KiMo Theatre, Albuquerque, New Mexico, USA Organizer:The Porch Cost: $189 Speakers: Alice Walker; Mona Haydar; Gareth Higgins; Brian McLaren; Malidoma Somé Description: The third annual Movies and Meaning Festival, an interfaith initiative, is centered on the theme “Hope in the Dark.” Over one weekend, participants will be inspired and challenged on this theme by artists and activists who work at the intersection of creativity, peace, spirituality, and social change. Films will serve as touchstones throughout the event; screenings include Pete’s Dragon; The Red Balloon; Mary andMax; Alice Walker: Beauty in Truth; Embrace of the Serpent; Reds; I Am Belfast; The ColorPurple; and more. Participants will walk away with a renewed spirit for social justice and tools for community healing. Continue reading “Upcoming courses, workshops, conferences”→