Roundup: Four talks and an interview

Hi friends. I’m preparing for a trip to Bangalore, India, later this month, to meet an artist whose work I admire, Jyoti Sahi [previously]. I apologize for being slow to respond to emails lately, but I do appreciate each and every message I receive from my readers! I read them all and will try my best to respond just as soon as I get the chance. Please note: email is the best way to get in touch with me, as I’ve found that Facebook, Instagram, and Twitter messages tend to get buried under a slew of notifications and are harder for me to tag and track. Thank you again for your support of Art & Theology, and for all your questions, encouragements, personal introductions, invitations, and art recommendations.

In this roundup I want to share a few recorded lectures that I’ve listened to in the past month and have really enjoyed; I hope you will too. The first two are by art historians speaking to secular audiences at museums about the (Protestant) art of the Dutch Golden Age—which I saw a lot of this spring during my visit to the Netherlands! The second two are by Christian professors speaking at Christian academic institutions, from different angles, about prophetic art. And lastly, Biola University interviews Krista Tippett, one of my absolute favorite podcast hosts.

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“Dutch Art of the Golden Age, 1600–1675” by Dr. Eric Denker, National Gallery of Art, Washington, DC, July 14, 2019: In this hour-long lecture, Eric Denker discusses some of the highlights from the National Gallery of Art’s seventeenth-century Dutch art collection: paintings by Emanuel de Witte, Jan van der Heyden, Salomon van Ruysdael, Aelbert Cuyp, Ludolf Bakhuizen, Hendrick ter Brugghen (of the Utrecht Caravaggisti), Frans Hals, Johannes Cornelisz Verspronck, Judith Leyster, Thomas de Keyser, Rembrandt, Jan Steen, Pieter de Hooch, Willem Claesz Heda, Johannes Vermeer, Ambrosius Bosschaert, and Adriaen Coorte. These include scenes of everyday life (such as church and domestic interiors), landscapes, portraits, and still lifes.

Interior of the Oude Kerk, Amsterdam by Emanuel de Witte
Emanuel de Witte (Dutch, ca. 1616–1691/92), The Interior of the Oude Kerk, Amsterdam, ca. 1660. Oil on canvas, 31 11/16 × 39 3/8 in. (80.5 × 100 cm). National Gallery of Art, Washington, DC.

I especially appreciated him pointing out details from de Witte’s Interior of the Oude Kerk, Amsterdam, which brings together death (a burial plot has just been dug up under the stone floor, with a skull visible in the upturned dirt heap) and life (a woman nursing her infant on a bench at the right). Unlike the French and Italian painting of the time, Denker says, in Dutch painting “there is nothing too vulgar . . . to portray. They felt that they inhabited God’s world, and that everything that existed in that world was necessarily of God’s making.” Hence the dog relieving himself on a column!

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“Food for Thought: Pieter Claesz. and Dutch Still Life” by Dr. John Walsh, Yale University Art Gallery, September 25, 2015: The Dutch coined the word “still life” (stilleven) to describe pictures of things that are incapable of movement or that lack a soul. In the Dutch conception, such paintings weren’t just for looking at but also for meditating on; the aim, in other words, was visual pleasure and moral edification. John Walsh outlines various categories: vanitas paintings, breakfast pieces, kitchen still lifes, pipe-smoking pieces, arrangements of food and wares on a table, fruit pieces, compositions of dead game and weapons, and flowers.

Walsh discusses many different paintings in detail, by many different artists (not just by the premier one in the lecture title), including a few examples of contemporaneous still lifes from Italy and Spain. He really made them come alive for me! The feasts of meats and cheeses, fruits and vegetables, for example, with all their subtle richness of texture and color, are a celebration of God’s goodness. In honor of Thanksgiving in a few weeks, here’s Pieter Claesz’s Still Life with a Turkey Pie:

Claesz, Pieter_Still Life with a Turkey Pie
Pieter Claesz (Dutch, 1597/98–1660), Still Life with a Turkey Pie, 1627. Oil on panel, 29 1/2 × 51 9/10 in. (75 × 132 cm). Rijksmuseum, Amsterdam.

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“Practicing the Prophetic: Liturgy, Formation, and Discernment for Public Life” by Dr. James K. A. Smith, Seattle Pacific University, October 16, 2019: James K. A. Smith has made a name for himself writing about worship, worldview, and cultural formation, through such books as You Are What You Love: The Spiritual Power of Habit and his Cultural Liturgies series. The first half of this talk, which starts at 6:15, is a good introduction to his work in that arena, as he discusses the liturgical nature of public life—how “the rhythms and rituals of public life aren’t just something we do; they are also doing something to us.” Cultural forces can de-form us, he says, in often insidious ways, such that we don’t even realize the deformation. Smith is all about getting us to take stock of what we’ve been conscripted to want, to love, to hope for; to perform a “liturgical analysis” on the social imaginary that we’ve absorbed through our culture’s images, stories, myths, rituals, practices, etc. And for a toolkit, he offers St. Augustine.

The second half of the talk (starting at about 33:40) is devoted to “the art of prophetic hope,” which “requires both the renewal of the Christian imagination and an outward offering of a Christian imagination for the sake of the world.” He continues: “What’s at stake in our liturgical formation is really a restorying of the imagination. It’s a restoring of the imagination because it’s a restorying of the imagination. And if Christianity has something to offer our neighbors, I think that will be most powerfully and prophetically embodied in the arts, which meet people on the register of the imagination.” I am always so compelled by Smith’s words; they’re all so quotable. But particularly germane to the Art & Theology project I have going here, and also to the upcoming Advent season, is what he says about a truly “Christian” art being that which holds together hurt and hope:

There is nothing more scandalous than Christian eschatology, I realize. And yet nothing speaks more directly to a hurtful and fearful world. This eschatological orientation, which is at the heart of the prophets, fuels art that is suspended between the already and the not yet. The unique imaginative capacity of the arts speaks to this ineffaceable human hunger for restoration even while honoring the heartbreak of our present pilgrimage. A Christian eschatology nourishes a distinct imagination that refuses to be constrained by the catalog of the currently available and instead imagines a world to come breaking into the present. Art that is infused with this eschatological imagination at once laments and hopes. In its lament, it honors our experience of brokenness, the heartbreak of the now. And in its hope, it gives voice to our longings. It neither wallows in romanticized tragedy nor escapes to sentimental naivete. Such eschatological art is like an embodied form of the Lord’s Prayer. Each such work is its own requiem, such that what Jan Swafford says of Mozart’s Requiem could be true of all such eschatological art. He says, “It’s full of death and hope, lacerating sorrow and uncanny beauty.”

I like this “uncanniness” metaphor. Uncanniness is an apt descriptor of such art that paints beauty with ashes, that can walk the soul through the valley of the shadow of death on the way to a feast in the wilderness. Such art stops us short in its uncanny, even paradoxical, ability to embody both hurt and hope.

By way of example, he discusses the Tomb of Maria Magdalena Langhans (1723–1751), who died in childbirth, along with her baby, on Holy Saturday; the Memorial to Fallen Workers in Hamilton, Ontario; and Sugar and Spice by Letitia Huckaby [previously].

Nahl, Johann August_Tomb of Madame Langhans
Johann August Nahl (German, 1710–1781), Tomb of Mme. Maria Magdalena Langhans, 1751–53. Sandstone. (This is an 18th-century replica; the original is in the village church of Hindelbank in Bern, Switzerland.)

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“Turn and Face the Strange: Thoughts on Ergonomics and Artistry” by Jeffrey Overstreet, Sacrament & Story conference, Brehm Cascadia, Bellevue, Washington, April 5, 2019: “This is a presentation about the courage that artists must have in order to behold, and then bear witness to, new visions of beauty and truth,” says film critic and professor Jeffrey Overstreet [previously here and here]. He teaches his students at Seattle Pacific University (a Christian institution) to ask, like Miles Morales, “What’s up, danger?” To go outside the walls, to the wild edges, and be still, and then to report on that encounter. Films he discusses, whose characters (or director) “go to the edge of the water,” so to speak, include Babette’s Feast, The Secret of Kells, The Fits, Moonrise Kingdom, and 24 Frames.

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An Interview with Krista Tippett by Jonathan A. Anderson, Biola University presidential luncheon, La Mirada, California, February 22, 2017: Journalist Krista Tippett is the most talented interviewer I know—time after time initiating open, hospitable, genuinely mutual conversations with a range of subjects. (It’s no wonder she’s won a Peabody Award and a National Humanities Medal! The latter for “thoughtfully delving into the mysteries of human existence.”) Here Jonathan A. Anderson, the director of Biola University’s Center for Christianity, Culture, and the Arts, interviews her, and it’s so rich!

After graduating from Brown in 1983, Tippett became a foreign correspondent in divided Berlin. After years of that, she earned an MDiv from Yale. In 2003 she created the NPR show Speaking of Faith, which, despite initial skepticism from many corners, became wildly popular and evolved into On Being. Her upbringing was Christian, but she interviews people from all different faith traditions—poets, clergy, scientists, doctors, historians, activists, etc.—always opening with the question “What is your spiritual background?” The show’s tagline is “Pursuing deep thinking, social courage, moral imagination and joy, to renew inner life, outer life, and life together.” Again and again, On Being brightens my outlook, builds my compassion, and gives me hope and inspiration, and I’m so grateful to Tippett for creating that space.

In her interview at Biola, Tippett describes what it was like to discover theology as “one of humanity’s great disciplines,” as “carrying questions and virtues and substantive riches that should be able to find a way in public life true to their depth and their wisdom.” She discusses her desire to be true to the intellectual and spiritual content of faith—the latter almost absent in public talk; how she responds to the criticism of being “soft” on religious voices; and she gives tips for conversing with those you disagree with. When Anderson opened up the Biola project to critique by asking her the problems and possibilities with their approach to Christian liberal arts education, she had this beautiful response: “Whatever our particularity is, that is our gift to the world.” To immerse oneself fully in a particular religious tradition is not a narrowing but a deepening, she said; being deeply who you are and having convictions and seeking truth is not incompatible with living lovingly and peaceably in a pluralistic world!

Tippett is the author of Speaking of Faith: Why Religion Matters—and How to Talk About It (Penguin, 2008) and Becoming Wise: An Inquiry into the Mystery and Art of Living (Penguin, 2016). Her radio show / podcast, On Being, has a vast archive, and I only just became a listener two years ago, but here are some episodes that I remember particularly enjoying:

Roundup: Culture care, top 10 movies of 2018, new Lent songs, and more

MORE ARTS CONFERENCES: I added two more April conferences to my recent post on spring arts events: “Sacrament & Story: Recasting Worship Through the Arts” in the Pacific Northwest and “Majesty: An Art & Faith Incubator” in Nelson, New Zealand. Check them out! https://artandtheology.org/2019/01/17/upcoming-conferences-and-symposia/

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ESSAY: “Makoto Fujimura and the Culture Care Movement” by Victoria Emily Jones (that’s me): Japanese American artist, author, and lecturer Makoto Fujimura has been at the forefront of the “culture care” movement for the past decade, whose aim is to love and to nourish culture rather than to war against it. This essay is an introduction to Mako’s teachings on the subject, as well as to a few of his major painting projects. He’s such a refreshing voice for evangelicalism, witnessing to the goodness of God’s creation and cogently articulating the Christian calling to be stewards of that goodness. YouTube and Vimeo are chock-full of Mako interviews, lectures, panel discussions, and short films. Here’s just one, to give you a taste of the work he’s doing—in it he describes some of the themes in his book Silence and Beauty, including the experience of personal “ground zeroes.”

I saw some of Mako’s paintings in person last year at the Museum of the Bible in Washington, DC. It was a quiet day in the gallery, so I had the privilege of being alone with them—those finely pulverized precious minerals and flecks of gold dancing abstractly across the canvases. Photographs really cannot do the works justice, but regardless, here’s a detail shot I took of In the Beginning, which Mako painted as a frontispiece to the Gospel of John for the Four Holy Gospels project commissioned by Crossway.

In the Beginning (detail) by Makoto Fujimura
Makoto Fujimura (American, 1960–), In the Beginning (detail), 2011. Mineral pigments and gold on Belgium linen, 60 × 48 in. Photo: Victoria Emily Jones.

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TOP TEN MOVIES: “Favorite Films of 2018: The Top Ten” by Jeffrey Overstreet: The Oscars are tonight, and lots of writers have already published their “top 10” lists in anticipation. One film critic, a Christian, whom I really respect is Jeffrey Overstreet [previously]—I love the way he talks about film. He started writing movie reviews in the nineties after realizing how most reviews by Christians were simply long lists of ways in which the movie might offend us. He wanted to go deeper.

“When we focus on the dangers of moviegoing, it can distract us from the purpose and the strengths of storytelling, and from the fact that we are encountering someone else’s perspective on the world,” he said in a 2007 interview. “If we treated people the way we treated movies in the past, we would shy away from them because of some particular aspect of their lifestyle or personality. I think engagement is a much healthier approach. We should avoid imitating bad behavior, but we should be open to engaging with, listening to, and understanding our neighbors through their art.”

I’ve seen only three of his top ten recommendations for 2018 but am adding a few of the others to my watchlist. His number ten, Private Life, was a favorite of mine too, certainly one of the most memorable, most wrenching movies I watched all year. It’s on Netflix.

For another “top 10” list, see the one compiled by the Arts and Faith Ecumenical Jury, a body of film critics and cinephiles seeking “to enlarge or expand the perception of what is meant by either labelling a film a ‘Christian’ film or suggesting that it should be of interest to Christian audiences.”

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NEW BOOK: Were You There? Lenten Reflections on the Spirituals by Luke A. Powery: “Valuable not only for their sublime musical expression, the African American spirituals provide profound insights into the human condition and Christian life. Many spirituals focus on the climax of the Christian drama, the death and resurrection of Jesus Christ, and the ways in which those events bring about the liberation of God’s people. In these devotions for the season of Lent, Luke A. Powery leads the reader through the spirituals as they confront the mystery of Christ’s atoning death and victory over the grave. Each selection includes the lyrics of the spiritual, a reflection by the author on the spiritual’s meaning, a Scripture verse related to that meaning, and a brief prayer.”

Published last month, this book is a follow-up to Powery’s popular Rise Up, Shepherd! Advent Reflections on the Spirituals (2017). I’m a big proponent of liturgically themed devotionals that utilize the arts as a resource (for others for Lent, see last year’s roundup), so this title stood out to me when I saw it in a magazine ad. Using Spotify or some other music-streaming service as a companion while going through the book is, I’d imagine, a must, as the power of the spirituals lies largely in their expressive vocal deliveries.

Were You There? by Luke A. Powery

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NEW ALBUM: Lent by Liturgical Folk (previously here and here): Liturgical Folk’s fourth album is now out! Featuring the vocals of Lauren Plank Goans (of Lowland Hum), Liz Vice, Josh Garrels, and Ryan Flanigan, Lent comprises ten original songs that extend from Ash Wednesday to Holy Saturday and that are inspired by the Book of Common Prayer. As always, the songs are lyrically rich and musically interesting, and I appreciate the inclusion of guest vocalists this time around, as each voice brings a unique quality. You can purchase the album on Bandcamp; devotional e-book and lead sheets are sold separately. You’ll also want to check out the group’s upcoming tour dates in the western US.

On Wednesday I posted a song about delighting in the Lord by Luke Morton; here’s one on the same theme, but with a decidedly Lenten tone, conceding human weakness:

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NEW MEDLEY: “Smile / I Smile” by Sara Niemietz and W. G. Snuffy Walden: This medley combines new arrangements of Charlie Chaplin’s melancholic pop standard “Smile” with the upbeat modern gospel song “I Smile” by Kirk Franklin. The former is an absolutely beautiful melody, which Chaplin composed for the final sequence of his 1936 semi-talkie Modern Times (one of my favorite films ever). The two main characters—the “tramp” (Chaplin) and the “gamin” (Paulette Goddard), a homeless couple—walk down a dusty road together into a sunrise. The whole movie they’ve been scraping and scrounging to get by, having endured unemployment, hunger, a mental breakdown, prison, family separation, and police harassment. Goddard’s character is ready to throw in the towel, but Chaplin encourages her to keep on going, that they’ll make it through.

In 1954 John Turner and Geoffrey Parsons added lyrics to Chaplin’s melody based on lines and themes from the film, creating the song that we all know today. While I could quibble with the admonishment to “hide every trace of sadness” and the like, as if we must push down the very real pain that we feel, I recognize that ultimately, the song is about hope, about pushing through darkness into the light.

By pairing this song with Franklin’s “I Smile” (2011), Niemietz locates that hope in God, who showers us with “Holy Ghost power.” The speaker acknowledges that “it’s so hard to look up when you’ve been down,” and asks God where is the love and joy he promised? It’s dark in my heart, he laments, no blue skies in sight, but regardless, he smiles, because “I know God is working.” This sentiment echoes Paul’s call to “rejoice always” (1 Thess. 5:16) and to be content in all circumstances (Phil. 4:11). I’d say that even if we can’t muster a literal smile when life hurts, it’s OK; what’s more important is that we develop an inner bending toward joy, a heart-smile, which trusts that God holds us in his love and carries us in his power.

Purchase the single on iTunes or wherever music is sold; also available on Spotify. [HT: Global Christian Worship]

Roundup: Advent as a season of pregnancy, an Oh Hellos Christmas, jumbo cathedral tapestry, new film column, music education ministry

“ART OF ADVENT” SERMON: In his chapel address last December at Wheaton College, assistant professor of art history Matthew Milliner opened with a marriage analogy: If you love your spouse, you’ve got to love their parents. Do we love Mary and Joseph? Have we even met them? “Before the swaddled baby comes the swollen belly,” Milliner reminds us. He helps us dwell in those nine months before Christ’s birth, showing examples of the Virgin of the Sign icon (“ultrasound Jesus”) and Marc Chagall’s modern interpretation of it; these images are good for “target practice,” he says: for focusing our primary affections on Christ. He also shares how Mariko Mori’s video piece Miko No Inori (The Shaman-Girl’s Prayer) reminds him of a Visitation sculpture group by a fourteenth-century German artist, who inset Mary and Elizabeth’s bellies with a gem. Advent is a season of pregnancy, in which we are called to bear Christ within us. Not only that, it’s about “the pregnancy of a groaning planet,” waiting for deliverance from suffering. This address was given a few weeks after the death of Wheaton English professor Brett Foster, and Milliner notes how putting Brett’s body in the ground was an Advent act, in that we wait for it to rise. To watch the full twenty-five minutes, see the video below or click here.

The Pregnant Woman by Marc Chagall
Marc Chagall (Russian/French, 1887–1985), The Pregnant Woman, 1913. Oil on canvas. Stedelijk Museum Amsterdam.

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CHRISTMAS EXTRAVAGANZA TOUR + MUSIC DOWNLOAD: The Oh Hellos—folk rock sibling duo Maggie and Tyler Heath (and my husband Eric’s favorite band)—are hitting up eight US cities on their Christmas Extravaganza Tour this month, each show “an evening of Christmas music, carols, originals, bad jokes, sing-alongs, dancing, revelry, and all the holiday cheer you can squeeze into one room!” Sure to be featured are the four “movements” from their Family Christmas Album, which blend carol excerpts: “O Come, O Come, Emmanuel” with “The Coventry Carol”; “While Shepherds Watched Their Flocks by Night” with “O Come, All Ye Faithful”; “Silent Night”; and “Joy to the World” with “I Saw Three Ships.” I’ve embedded the first one in the player below. They’re offering this Christmas album for free download at NoiseTrade (tips appreciated), or if you want a physical disc, you can purchase it from Bandcamp.

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VISUAL MEDITATION: My latest visual meditation for ArtWay is on the gigantic Christ in Glory tapestry by Graham Sutherland that hangs behind the altar of Coventry Cathedral—one of many modern church art commissions in England necessitated by World War II bomb damage. Visiting the cathedral in 2013 was one of the most spiritually rich experiences I’ve ever had, and I plan to share it on this blog sometime in the future. Such a variety of artists were involved in the interior decoration program, and somehow it all comes together, collectively testifying to the power of resurrection. Sutherland wrote of his aspirations for the Christ figure: “The figure must look real—in the sense that it is not a rehash of the past. It must look vital; non sentimental, non-ecclesiastical; of the moment: yet for all time.” I’m taken by the final result, but an elderly gentleman who observed me staring at it for a while approached me and told me how much he hates it, how he thinks the eyes look unkind. (The man has lived in Coventry his whole life and remembers worshiping in the original cathedral before the war.) What do you think?

Christ in Glory by Graham Sutherland
Christ in Glory in the Tetramorph. Tapestry designed by Graham Sutherland (British, 1903–1980) and woven by Pinton Frères in France, 1962. Dimensions: 75 × 38 ft. Location: Coventry Cathedral, Coventry, UK.

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FILM COLUMN: This fall I’ve really been enjoying film critic Jeffrey Overstreet’s new Christianity Today column, “Viewer Discussion Advised,” designed to help Christians discuss and explore a broad range of films. His kickoff article on the foreign drama Timbuktu, which is about the city’s occupation by Muslim extremists, highlights how it “bears artistic witness to the sufferings of our neighbors.” (Quoting Frederick Buechner: “If we are to love our neighbors, before doing anything else we must see our neighbors.”) “Christians can choose to dwell on—and invest in—movies that show us what we already like, tell us what we already know, assure us of our own salvation, and make us feel happily entertained. That isn’t wrong. But might we make better use of our time? Might we exercise courage and conscience, step outside of our comfort zones, attend to our neighbors, and learn from their experiences?”

Through a Screen Darkly

In addition to Timbuktu, Overstreet has covered the comedy The Station Agent; the US criminal justice system documentary 13th; the Hitchcock thriller Vertigo; the biographical drama A Man for All Seasons; the Marvel superhero flick Doctor Strange; the Coen brothers’ comedies; and the sci-fi feature Arrival, ending each article with group discussion questions. Overstreet has been writing about art, film, and faith for more than a decade at LookingCloser.org and is the author of Through a Screen Darkly: Looking Closer at Beauty, Truth, and Evil in the Movies. He is currently teaching an online film course for Houston Baptist University and creative writing at Seattle Pacific University. To receive weekly installments of “Viewer Discussion Advised” to your email inbox, sign up for the CT Entertainment Newsletter.

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MUSIC VIDEO: My friend Nabil Ince is a third-year music major at Covenant College who writes and produces music under the rap name Seaux Chill. After an internship this summer he became assistant program director for the New City Fellowship–based nonprofit East Lake Expression Engine in Chattanooga, Tennessee, whose mission is to provide children in the East Lake neighborhood with a free music education in a gospel-centered environment. Inspired by the El Sistema movement, the organization believes that music is an effective avenue for developing children’s creativity and problem-solving skills and for building up a strong community. They provide year-round classes on music history, theory, composition, and performance, including choir, bucket band, and orchestra. Below is the music video for “It Always Rains on Tuesdays,” a song Nabil wrote for the kids. The refrain is “Feed the plants / Clean all the cars / Fill the potholes / Tears from the stars.”