One of the art blogs I follow is Hyperallergic, “a forum for serious, playful, and radical thinking about art in the world today.” It’s not Christian-affiliated, but because of Christianity’s vast influence on the arts, it’s not unusual for “Christian” works, or works that reference Christianity, to be covered. This past month two such features stood out to me for the outsider perspectives they offered:
(1) “A Meditation on the Ineffable Grandeur of Churches” by Jennifer R. Bernstein: An “irreligious, halfhearted Jew” describes “what it means to love church but not God,” to be transported in a way that she has never been in synagogue. By way of example, she shows a photo of La Sagrada Familia in Barcelona; an agnostic friend of mine had a similar experience as this author—he told me that when he visited that cathedral last year, he came very close to believing in God and falling to his knees right then and there in repentance, so moved was he by the architecture and what it signified.
Here are some excerpts from Bernstein’s article:
Crossing the narthex of a cathedral is like starting a great book: You simply aren’t in your home world anymore.
In my view, the truest kind of reader/viewer is not the intellectual, but the supplicant. To “consume” a work of art is really to be consumed by it: to surrender your will to the vision of the creator — or, in this case, the Creator.
Organized grandeur makes us feel small and powerless, yet connected to something all-powerful.
Church, if we take it seriously, if we give in to stillness, threatens to reorder what we care about. . . . An extraordinary environment forces us into a confrontation with a striking somewhere, reminding us that we can and should take care in choosing where we place our bodies, for there we also place our minds.
(2) “A Timely Performance of MLK’s Final Sermon Takes Viewers to Church” by Seph Rodney: Commissioned by BRIC for its inaugural BRIC OPEN Festival, The Drum Major Instinct is a dramatization of the Rev. Dr. Martin Luther King Jr.’s final sermon accompanied by original music by Phil Woodmore, presented on April 30 by Theater of War Productions and NYC Public Artist in Residence Bryan Doerries. True to BRIC’s mission, it was followed by an open community discussion on race and social justice.
What was shocking, to me, about this article is the reviewer’s candid opposition to King on the grounds of his “rigid, hierarchic, conservative” Christianity. We’ll take the social justice he promoted, Rodney seems to say, but without all the God-talk. Does he not understand how integral King’s religious faith was to shaping his vision and motivation? And he achieved practical, world-changing results. If our “desire to follow our inherited religious templates” “dooms us,” then why did King’s template, taken from the Bible, usher in such positive change in America? Citing today’s (Muslim) theocracies as evidence of how religion and human rights violations go hand in hand is irrelevant. Continue reading “Non-Christians respond to Christian artworks”