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Burt Reynolds is dead...
https://open.spotify.com/user/... Burt Reynolds is dead ... and I am listening to an utter stranger's Southern Gothic playlist on Spotify. Since Sunday of Labor Day weekend my time has been spent revolving around the "Christmas in July" play (penned by our very own Dennis O'Donnell), and it's final tech week preparations. On the ride into the church building from my suburban home I've listened to a podcast on Christian and Pagan reliquary given at the Met. Museum of Art, and another podcast of an introductory lecture on Plato's aesthetic notions by an Oxford professor. Burt Reynolds is dead... I am listening to an absolute stranger's Southern Gothic playlist... and (oddly even to me) this all seems to make some sense that I would write Today's Art Topic, despite it having nothing to do with such a context -- while nonetheless being crafted in the midst of it all. There just is ... something... about the irrelevancy of it all to the topic: the relationship(s) of ourselves to Art, and of ourselves to creating/creation (of works). What does it mean, what does it look like to be "charitable" towards an artist and their work? What does it mean to "be the Body of Christ" to the artist, to an artwork, to creating, to Art itself?
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In summation of our discussion/posts so far on Christian Aesthetics I recall our minds to the notion that a Christian Aesthetic involves, in part, an ethos towards Art like that of Shem's and Japheth's reverential carrying of cloaks across their shoulders to PROTECT the vulnerability and beauty of their father.
If Creation and a creation, Art and some piece of art, all are so holy and venerable, then so to the act of creating, an act of creation, ought to be considered as a holy thing. Creation ought to be considered one of the holiest of activities, esteemed as a holy pursuit. Aye, you could say that an act of creation is a sitting at His feet, a laying at His feet, a glorifying Him in that manner in which He Himself choose to do for Himself. Our Holy God (Father, Son, Holy Spirit), deserving glory, in holy activity created, so that His reflection might be seen in His creation, that His Holy nature might be known. When the artist creates, in that act of creation, she is modeling back to God that holy activity for which He is so deserving of glory. Do we consider the activity of art making in such ways? Going back to the refrain of Philippians 4:8, in light of these thoughts, isn't art making noble, true, good, righteous, excellent, praiseworthy, loving, just activity? Does our Christian Faith provide for us an in-built (even an in-dwelt) Christian aesthetic for Art? What formulation would that aesthetic take, especially in light of the exhortation of Philippians 4:8, which says:
"8Finally, brothers,whatever is true, whatever is honorable,whatever is right, whatever is pure, whatever is lovely, whatever is admirable -- if anything isexcellent or praiseworthy -- think on these things. ." Or, perhaps more saliently considered, Philippians 2:13, which says, " 13For it is God who works in you to will and to act on behalf of His good pleasure.." Is good (Christian) art that which most closely approximates the highest notions of say, truth or purity or beauty or nobility (for instance)? Does the worth of Christian art rest contingently on the maturity of the believing artist more than upon the maturity of craft? How do we define Beauty as Christians? One very historic and relevant question: if God's beauty is expressed in / through His Creation, and of Man it was said that (s)he was very good, then what of the nude form -- is it beautiful? Was God covering up something shameful when He gave Adam and Eve skins of animals to wear, or maybe, was God covering the beautiful up from shaming glances, protecting the beautiful, making it sacrosanct? If nothing else does God's covering of the beautiful suggest that it is the heart relationship towards the Beautiful -- the audience's relationship to the art (and not the art itself) -- which is made unworthy of viewing that nude form which is too worthy to be viewed by shame-filled eyes? Put slightly more direct, God's covering suggests it is not the nude which is unworthy, but rather the nude is worthy of protection from the shame-seeing onlooker. If we truly accept it is the Spirit of God dwelling within us to will and to act according to His good purposes, doesn't that heart frame the conversation, then, not by asking what is appropriate but by asking have treated or portrayed the beautiful appropriately? Have we loved and done Beauty justice and kindness and rightness and done so praiseworthily? Do we in our hearts act as Shem and Japheth, and carry a cloak across our shoulders backwards and cover our father's nakedness? Is it possible to paint a nude but, paint it so that true Beauty is covered in like manner? This certainly makes the question of Aesthetics one of Ethics, and of the ethical responses of the viewer (more than a question of the nature of the Art), and arguably (the ethics) of the artist. ***(Personally, I think in certain (maybe rare) nudes those nudes can actually function as a cover of / for Beauty as expressed in the human form, in such a manner as Shakespeare wrote of the beauty of His lover by ironically discussing her stinky breath.) How does a Christian Artist avoid "friendship with the world"? Being "in the world, but not of it"?
As a one with a degree in Philosophy I almost choke on my own question -- the amount of presuppositions and implicit assumptions upon which that question rests, as well as all the undefined elements (to the question), is huge. But I think I kinda like asking it that way, for that reason. Involved in the question are my unexpressed notions that Christian Artists somehow interact with the world, such that they could be at risk of becoming "friends with the world" (whatever that means, since I have not yet explained that phrase). Well, I would certainly hope the Christian Artist, in one sense, is always at risk of being friends with the world in which they are, but are not of. But here is where the storyteller has to take over the philosopher. I was thinking the other morning, in a flight of fancy, about the old descriptive chestnut, "that [child] has a lot of their daddy in them." I began considering how the Christian ontology changes the way we speak, even on such a level as making such expressions as that near meaningless, if not judgmental and wrong. I started wondering how such colloquialism at one time provided an ability to make declarative, "naming" statements which imparted (facets of) identity. As humans (and especially as artists) we are made to call out -- ex-nihilo of the conceptual / intellectual landscapes and emotional ethers (in the fashions of ones created in the image of a creator God and bearing His creative stamp) -- the truth and identity and even worth of (created) things. See, here is where the real "Existential Rub" comes in for me. Frederick Buechner wrote a book which spoke to me in the final year of my father's life, "Longing for Home." In it Buechner describes a moment of shared joy, an experience of joy his wife and daughter and himself all felt at watching a killer whale leap from the water into air, before crashing back down into the water. In this book, and in other, fictional works, Buechner explores what it means to long for a fatherland as yet to come -- that land to which such moments of joy and beauty as that with the whale harken. The saying goes something like, happy is the man for whom any land is whom but blessed is the man who eagerly awaits a certain fatherland as yet to come. Matt Ryniker's sermon on Hebrews 11 (indeed the whole chapter in and of itself) sort of speaks to this sojourning pilgrimage through these earthly and mortal coils while looking onward in faith. It is about hope, I guess, that quality produced through suffering leading to perseverance leading to character leading to hope that doesn't disappoint because God has shed the Love of His Son into our Hearts through His Holy Spirit. How do we not live as friends of this world? Well, it is living in or at least living for that far off fatherland to come, which we know of in part... but only in part. I think it is that part we know of which we as artists absolutely have to be making our subject matter. A tiny picture of that is writing about the joy coming from seeing a killer whale leaping out of the water, and about the reminder this is of where we have yet to see and explore. I have to wonder if, on some level, that that is not the very role of the Christian Artist -- to harken (not necessarily in an evangelical way solely, since evangelism is for those not in relationship with Christ) to that far-off land, the onus of the artist so to speak. LM BT Submissions to "Feast" are due the third Thursday of every third month starting in Febuary (i.e. February, May, August, November).
Themes to consider for upcoming "Feast" issues should revolve around : (a) classic / traditional Christian themes (such as Incarnation / Incarnational Life, Pilgrimage, Redemption); (b) current sermon series topics; (c) current Orthodox Calendar themes; (d) reflections on past issues of "Feast" or current Christian topics. What is our Feast? At its core, Feast is our sumptuous community in lavish celebration, partaking in the manna of God-in-our-Midsts as we trek through the wilderness of this life. Simply, Feast is an art publication, and specifically it is a collection of reflections arising out of the daily life of our church community. The aim of Feast is to offer an encounter with the works of God in our particular community by "serving up morsels" through creative expression.
There is intentional space left for you, the reader to “journal out” your own “bites” (your thoughts, creation, reflections). It is hoped you might share from the "plate" of this issue, the "morsels" which you have enjoyed, handing it along through conversations with each other, or passing it down the "table" of fellowship. Perhaps this could mean that you put it in the pew-back to be found by a random congregant, or hand it off to someone in a small group; take it with you to family gatherings; leave it out on your desk at work and give it to a co-worker who asks about it; drop it off at hospital for a sick friend. You get the idea. If a photo is worth a 1000 words, then apparently there’s a lot to be said. I enjoy taking photos and am surprised if I can capture just a tiny amount of the beauty of God’s creation with them. It’s intriguing to me to see color, shading, shape, form, and texture with photos.
Initially my love of photography began with a point and shoot 35 mm I had in high school. Love of photographs is an untold passion of mine – I just LOVE to take pictures! There’s a thrill that exists in seeing what you experienced after the fact. My intent in this collection is to share with the viewer scenes from Turkey in the summer of 2016. My largest hope and desire is that these images would inspire the viewer to intercede on behalf of the Turks and workers in this land. If these photos bring joy then may they also trigger rejoicing to our Creator. Whatever the emotion or thought invoked by these images, may they draw you into intercession. I’m the only daughter of Rita and Richard and have both an older and a younger brother (Rick and Alan). I serve the Lord by ministering on the Hope Chapel worship team, being on the Board of Directors at Hope Chapel, teaching musical worship at N2Worship, and teaching band at Murchison Middle School. Art for sale from Hope Artists is now being displayed in the Coffee Shop Gallery area. Now the Hope Community can acquire art and patron its artists. All sales and proceeds go directly to and through the artists themselves. Currently on display are several long-time Hope Chapel artists, including Sarah (Hawthorn) Busskamp, Audrey Lopata, Rick VanDyke. Come by frequently to see new artists and new art for sale, and for contact / purchase information.
Sarah Hawthorne Busskamp exhibit "Light on Darkness" on display December 20 - February 20. "A selection of work dealing with light and darkness in cities and landscapes. The painting are inspired by photographs from travel, and are intended to make viewers feel at home, even as they are being taken away on an adventure. All giclée prints are available for purchase" -- Sarah Hawthorne Busskamp { This post written in response to a statement by our pastor, concerning the power of our personal stories being second only to that power of the Gospel -- a statement with which I agree. }
In the recent HopeArts blog post entitled, “Why do we even have an Arts Ministry,” I contended that Art, by its very nature, is redemptive, recasting our human suffering in the light of the beauty and worth to which we are redeemed in Christ. With such being the case, it therefore remains an inescapable facet and dynamic of spiritual healing of members within a church for there to be an Arts Ministry. As healing is a process, and as Art plays a role, we might wonder how we as a community partner with the Arts Ministry in the processes of redeeming and healing. And, ultimately, this goes to questioning our very cultural mindset of passive receiver and consumer. Every work of Art - every poem, every painting, every film, every dance, every musical score, every sculpture, etcetera - engages the whole community in redeeming individual notions and experiences with a beauty both inherent to humanity and possible within humanity’s re-creation in Christ. It is not just that I see a beauty, say, in a suffering like my own, but that I see how we all share that same beauty and that same suffering. So, Art immediately “de-isolates” us, and what is more, it fixes us firmly within something beyond ourselves, and out of the narrow, tunnel-visioned view brought on by suffering. Thus it is our individual stories become beacons, expressions of hope: they (our stories) contribute to marking out the expansiveness of Beauty, and beauty’s ability to cover over, pervade through all of Life and human experience. Just as God’s face hovered over the waters when the earth was formless and void, so to His Beauty hovers over the expanses of individual lives. Christ’s sacrifice is worth every single story that can reveal His beauty (and ours) -- but all the stories combined do not equal the worth of His Beauty. Art is the music to the words of our lives, coalescing into the new song which is and is to be sung for (and unto) Him for the rest of Eternity. Each life, each story then, is not a retelling, but a telling a little bit more of the grand meta-narrative, the beauty of which we all share. To not engage in and with Art, then, is to not tell our story; to not tell our stories is to deny that about which Art speaks. So what does this look like, specifically, boots on the ground? Well, this is what a good Arts Ministry facilitates. In general it means artists “keeping Story” for the community, and the community contributing their stories. This means, in the very least, interaction, partnership, supping and relationship. And all that means another blog post. Why do we have an Art's Ministry? We are told that Art is a part of the Hope Chapel DNA, but is that all? Simply because we are told it is so? That in no way helps us to understand where that DNA originated, or why art is important at Hope Chapel and the Body of Christ.
We have an Arts Ministry because Art is redeeming. Art goes beyond finding some singular or isolated experience of beauty, only to reproduce that beauty for the sake of brightening our walls. Art is about more than appeasing some consumerist urge, or an exercise in merely making some obscure point. Through Art we do no less than escape a slavery to what is bounded and bordered by Death. Through Art everything we experience isolatedly in our fallenness and brokenness is exchanged for a righteousness and a beauty universally shared by all in Christ. Through Art all the hurt and loss in our earthly lives is recast in the light of a beauty and a worth which can never be stripped away. Christ has redeemed us from Death, and Art then shows us the beauty and worth and fullness to which He has redeemed us. Christ has given us life, and Life in the fullest, and so through Art do we even come close to celebrating that full measure of Life. I would respond to the question with another question: if we believe and value our redemption, if we value the redemptive work of Christ in ours and others lives, and if we hold circumspectly to both the call of the Great Commission and to the Fourth Westminster Catechism (to delight ourselves fully in God, essentially), then I ask: how can we not have an Arts Ministry? How can we have any spiritual discussion or dialectic of any kind and not have Art anchoring our souls, mooring our minds and hearts? If Hope Chapel is a place of healing for the wounded, how can Hope Chapel provide healing without the salve and balm of Art? -- Kevin Daniel Beloved hopeartslandia,
Many of you are aware of the recent announcement of my departure from the role of Arts Pastor as of the end of June. This decision has been a while in the making. In the midst of my pregnancy with Clare, I realized that I needed to consider the possibility of not returning to the position after her birth in December. My experience speaking and performing at The Creative Church conference in Boise last summer also had me thinking about ways to make more time available to share the Bible-in-3D class that I’ve been developing and to create performances. My biggest concern with leaving was that there was not an obvious new leader emerging from within HopeArts. Then Geno announced that Doxology would be rejoining Hope Chapel. I felt an immediate sense of stirring and excitement about what God was doing. After meeting their pastor, Brett Hart, at a HopeArts meeting, I began to wonder if God had brought him to Hope Chapel (in part) to lead our arts ministry. A few weeks later, I met with Brett to discuss working together on hanging a visual art exhibit. The timing didn’t work out for that, but I discovered that things were already in motion for him to join Hope Chapel’s staff to lead our small groups and spiritual formation. When it came time for me to discuss the timing of my departure with Geno, I suggested that he consider inviting Brett to lead the arts ministry. I felt very positive and very strongly about Brett, and here’s why: I could tell he’s a kindred spirit to HopeArts, to what we are and always have been about. He has experienced very personally the life of an artist, being a painter and crafter of books & words, the husband of an artist (writer), and the father/father-in-law of artists (musicians, visual artists, and more). He is also a wise shepherd devoted to following the Good Shepherd. Not insignificantly, the fact that he has other roles that make him full-time staff with Hope Chapel is a tremendous boon for artists and the arts. Remember David Taylor? He wasn’t a full-time arts pastor either. He split his time with leading adult education, which included influence in the Sunday morning service. I am convinced that it is an excellent thing for the creativity of Hope Chapel and the health of our artists that HopeArts will be led by the same person who is leading our entire small group ministry and is influencing the spiritual development of our entire congregation. Perhaps you find yourself surprised (or even a little suspicious) about the way Brett came to this position. Let me assure you, if there was any conspiracy, I believe it was the Holy Spirit’s doing! I encourage you to meet Brett as soon as you can. If you don’t have a chance to meet him in person soon, take a look at the Doxology website, which is still hanging out on the web and will give you a sense of the kind of community he leads people into. I think you’ll agree that Brett is of our tribe. Welcome home, Brett! As for me, I plan to take a bit of “sabbatical” in July & August from church duty, and then to launch a Hope Chapel theater group in the fall. You can reach Brett at [email protected]. Further up and Further in! ~brie  Our Christmas program was a service based on an Anglican tradition called "Lessons and Carols." The students read a series of passages telling the Christmas story, starting with Genesis 2 and ending with John 1. The passages were interspersed with "carols" - in the traditional program, they're just songs, but we "Hope-i-fied" it by inviting artists to create a response in whatever discipline they work in. Click here for photos from Bill Ledbetter. A reflection from Patricia Bowerman: "It felt less like a consumerist experience and more like a community fair. I left feeling invigorated, stirred, and as if I had moved through rich, emotional depth all day long." "I had no idea what I was getting into when I went on the East Austin Studio Tour, but it was fabulous. It's definitely my new favorite Austin festival." "When I went on the art studio tour it was like rain from heaven for me. The beauty of the art was nourishing and I started to think about color, design, and shape again." This summer, i (Brie) was a part of a conference on art & the church in Boise. One of the principal organizations supporting the conference was a new nonprofit called "The New Renaissance." Their website is chock-full of wonderful and encouraging stuff.
Here's what they say about what they're about: It's a movement to reintegrate inspired art* into the local church and spiritually powerful art into the culture. A movement that will connect artists with the ultimate Creator and their true selves, invigorate the Body of Christ and convey God's love to the world in authentic and creative ways. Check 'em out! |
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