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Studies in Theology and the Arts
Contemporary Art and the Church: A Conversation Between Two Worlds
The church and the contemporary art world often find themselves in an uneasy relationship in which misunderstanding and mistrust abound. On one hand, the leaders of local congregations, seminaries, and other Christian ministries often don't know what to make of works by contemporary artists. Not only are these artists mostly unknown to church leaders, they and their work often lead them to regard the world of contemporary art with indifference, frustration, or even disdain. On the other hand, many artists lack any meaningful experience with the contemporary church and are mostly ignorant of its mission. Not infrequently, these artists regard religion as irrelevant to their work, are disinclined to trust the church and its leaders, and have experienced personal rejection from these communities. In response to this situation, the 2015 biennial conference of Christians in the Visual Arts (CIVA) facilitated a conversation between these two worlds. The present volume gathers together essays and reflections by artists, theologians, and church leaders as they sought to explore misperceptions, create a hospitable space to learn from each other, and imagine the possibility of a renewed and mutually fruitful relationship. Contemporary Art and the Church seeks common ground for the common good of both the church and the contemporary art world.
260 pages, Kindle Edition
Published June 20, 2017
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About the author
W. David O. Taylor
14 books73 followersW. David O. Taylor is Assistant Professor of Theology and Culture at Fuller Theological Seminary. He is the author of "Open and Unafraid: The Psalms and the Life of Faith" (Thomas Nelson: 2020), "Glimpses of the New Creation: Worship and the Formative Power of the Arts" (Eerdmans: 2019) and editor of "For the Beauty of the Church: Casting a Vision for the Arts" (Baker: 2010). He has written for The Washington Post, Image Journal, Christ & Pop Culture, and Christianity Today, among others. An Anglican priest, he has lectured widely on the arts, from Thailand to South Africa. He lives in Austin with his wife Phaedra, a visual artist and gardener, and his daughter Blythe and son Sebastian. Twitter: @wdavidotaylor. Instagram: @davidtaylor_theologian.
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Displaying 1 - 5 of 5 reviews
August 7, 2018
Summary: Essays from artists, theologians, and church leaders participating in the 2015 Christians in the Visual Arts (CIVA) Conference exploring the conversation to be had between the church and contemporary artists.
The relationship between the church and the art world has often been a tense one, particularly on the contemporary art scene. Often, believing people don't know what to make of contemporary art, or they may find it repulsive or even insulting when images of their faith seem to be denigrated. Contemporary artists sometimes come from church communities but have experienced rejection, or the disjunct between professed beliefs and lived experience. Then there is the group working in both worlds, and living in the tension between those worlds. These are the people represented by the essays in this book, which came out of a Christians in the Visual Arts conference in 2015, gathered to explore how a conversation might be had between these two worlds--a conversation made up of artists, critics, theologians, and church leaders.
There are three groups of essays, and then two concluding symposia and two final essays. The first group of essays explores what is meant by a conversation between the church and contemporary art. Wayne Roosa's essay seems to maximize the differences, that this is a conversation between strangers that will involve a posture of close listening and receptivity to even understand each other. Linda Stratford responds that there are overlapping qualities between the two, commending as an example the late work of Andy Warhol, who turns out to have been far more religious than many would have guessed. Jonathan Anderson draws on Paul Hiebert's work around bounded and centered sets and suggests the latter offers a model for intersection between the two conversation partners around shared concerns of ultimate value. The final essay, by Bowden and Lettieri explore examples of what is being done at a practical level through exhibitions in church galleries and other settings.
The second set of essays focuses on theology--God and contemporary art. Ben Quash opens with the provocative question, "can contemporary art be devotional art?" He considers three oppositions in this relationship, which he describes as a "marriage in mediation," Taylor Worley responds by exploring how faith, hope and love shape our engagement with contemporary art. Christina L. Carnes Ananias explores some of the different ways one might understand silence and nothingness in the work of Yves Klein. Finally, in one of the most interesting essays in the collection, Chelle Sterns explores a "haptic pneumatology" (the experience of the Spirit through touch, physical sensation) in the installations of Ann Hamilton. If her work is ever in my town, I want to see (and participate in) it after Sterns description.
The third section concerns art and worship, Katie Kresser, an art historian, explores some of the theory of visual and spiritual perception around images and makes recommendations for art in the worship context that expresses shared apprehensions of truth of the worshipers rather than a mere personal expression of the artist. W. David O. Taylor affirms this but presses further in asking, "Which Art, What Worship?" Allen Craft argues for an art that gives a congregation a sense of its "place" in the world. Finally, David W. McNutt contends that churches in the Reformed tradition shaped by Barth's emphasis on Word and negative view if images, may find support in Barth's ecclesiology for art in the church. I have to admit that I wasn't persuaded, but that McNutt is far more knowledgeable about Barth than I.
The final section consisted of two panels, one moderated by Nicholas Wolterstorff, the other by Kevin Hamilton. The first might be described as "the way it was and how far Christians in the arts have come." The second was a much younger group of artists working in public settings, describing much more, "the way it is." This is followed by an essay by Calvin Seerveld giving advice to recent grads--apprentice, do imaginative work rooted in one's humanness, and create works that reflect one's vision of "the city of God" in all of life. Finally, he argues that artists are jesters and ventriloquists. Cameron J. Anderson explores both the embrace of calling and beauty in the pursuit of one's art and the knowledge that grace alone saves the world.
This is a pretty high level conversation, where we overhear serious thinkers and artists exploring the conceptual and imaginary worlds of the church and the contemporary art world. Apart from Bowden and Lettieri's essay, and the two symposia, there was less on practical program and more on exploring the first principles of such conversations. More important, it seemed to me a kind of rehearsal of how CIVA artists and church sympathizers might extend these conversations, both in the direction of the wider church, and the wider art community. This path-breaking work seems vitally important if a real conversation is to occur, one that fosters new-found appreciation for the concerns of artist, and one that explores how a contemporary aesthetic might open up fresh ways of apprehending the God we worship and God's ways in the world.
The relationship between the church and the art world has often been a tense one, particularly on the contemporary art scene. Often, believing people don't know what to make of contemporary art, or they may find it repulsive or even insulting when images of their faith seem to be denigrated. Contemporary artists sometimes come from church communities but have experienced rejection, or the disjunct between professed beliefs and lived experience. Then there is the group working in both worlds, and living in the tension between those worlds. These are the people represented by the essays in this book, which came out of a Christians in the Visual Arts conference in 2015, gathered to explore how a conversation might be had between these two worlds--a conversation made up of artists, critics, theologians, and church leaders.
There are three groups of essays, and then two concluding symposia and two final essays. The first group of essays explores what is meant by a conversation between the church and contemporary art. Wayne Roosa's essay seems to maximize the differences, that this is a conversation between strangers that will involve a posture of close listening and receptivity to even understand each other. Linda Stratford responds that there are overlapping qualities between the two, commending as an example the late work of Andy Warhol, who turns out to have been far more religious than many would have guessed. Jonathan Anderson draws on Paul Hiebert's work around bounded and centered sets and suggests the latter offers a model for intersection between the two conversation partners around shared concerns of ultimate value. The final essay, by Bowden and Lettieri explore examples of what is being done at a practical level through exhibitions in church galleries and other settings.
The second set of essays focuses on theology--God and contemporary art. Ben Quash opens with the provocative question, "can contemporary art be devotional art?" He considers three oppositions in this relationship, which he describes as a "marriage in mediation," Taylor Worley responds by exploring how faith, hope and love shape our engagement with contemporary art. Christina L. Carnes Ananias explores some of the different ways one might understand silence and nothingness in the work of Yves Klein. Finally, in one of the most interesting essays in the collection, Chelle Sterns explores a "haptic pneumatology" (the experience of the Spirit through touch, physical sensation) in the installations of Ann Hamilton. If her work is ever in my town, I want to see (and participate in) it after Sterns description.
The third section concerns art and worship, Katie Kresser, an art historian, explores some of the theory of visual and spiritual perception around images and makes recommendations for art in the worship context that expresses shared apprehensions of truth of the worshipers rather than a mere personal expression of the artist. W. David O. Taylor affirms this but presses further in asking, "Which Art, What Worship?" Allen Craft argues for an art that gives a congregation a sense of its "place" in the world. Finally, David W. McNutt contends that churches in the Reformed tradition shaped by Barth's emphasis on Word and negative view if images, may find support in Barth's ecclesiology for art in the church. I have to admit that I wasn't persuaded, but that McNutt is far more knowledgeable about Barth than I.
The final section consisted of two panels, one moderated by Nicholas Wolterstorff, the other by Kevin Hamilton. The first might be described as "the way it was and how far Christians in the arts have come." The second was a much younger group of artists working in public settings, describing much more, "the way it is." This is followed by an essay by Calvin Seerveld giving advice to recent grads--apprentice, do imaginative work rooted in one's humanness, and create works that reflect one's vision of "the city of God" in all of life. Finally, he argues that artists are jesters and ventriloquists. Cameron J. Anderson explores both the embrace of calling and beauty in the pursuit of one's art and the knowledge that grace alone saves the world.
This is a pretty high level conversation, where we overhear serious thinkers and artists exploring the conceptual and imaginary worlds of the church and the contemporary art world. Apart from Bowden and Lettieri's essay, and the two symposia, there was less on practical program and more on exploring the first principles of such conversations. More important, it seemed to me a kind of rehearsal of how CIVA artists and church sympathizers might extend these conversations, both in the direction of the wider church, and the wider art community. This path-breaking work seems vitally important if a real conversation is to occur, one that fosters new-found appreciation for the concerns of artist, and one that explores how a contemporary aesthetic might open up fresh ways of apprehending the God we worship and God's ways in the world.
March 16, 2020
I immediately started this collection of essays after a week-long contemporary music intensive I went to. While there are differences between visual art and music, overall I found it really helpful in my thinking of both consuming and making contemporary art/music. I appreciate the way that these authors serve as liaisons between the high art world and people who have no experience in that world whatsoever—I think that’s necessary and enjoy watching them do so with grace and humility. At times it was a bit academic for me, but I’m sure much of that is from my lack of knowledge visual arts history. I especially enjoyed the two panel discussion chapters, as well.
August 27, 2017
Contemporary Art and the Church is the third book in the Studies in Theology and the Arts series. It is a compilation of essays, most of which were presented at a Christians in the Visual Art Conference. The contributors of this book examine a variety of questions in relation to the role of contemporary art in the church. Not only is the nature of contemporary art probed (what exactly is included when referring to "contemporary art"), but also how it should be used in the church and how artists who are committed Christians ought to engage with contemporary art.
While I found each essay to be of interest for different reasons, for me, as an amateur artist who is primarily interested in the ways in which art can communicate ideas that speak to both heart and mind at once, I think the chapters that most interested me were "Can Contemporary Art be Devotional Art?" by Ben Quash, "Something from Nothing: A Theology of Nothingness and Silence for Yves Klein's Le Vide" by Christina L. Carnes Ananias, and "Art, Place, and the Church: Thinking Theologically About Contemporary Art in the Worship Space" by Jennifer Allen Craft. I would not necessarily recommend this book for everyone, due to the academic tone and highly theoretical nature of some of the chapters (I especially have in mind the first part of the book which is more concerned with the nature of and how art and faith can be in dialogue), but if you have a good understanding of theology and enjoy the ability of art to cultivate an experience of beauty and a sense of God, then I highly recommend it.
While I found each essay to be of interest for different reasons, for me, as an amateur artist who is primarily interested in the ways in which art can communicate ideas that speak to both heart and mind at once, I think the chapters that most interested me were "Can Contemporary Art be Devotional Art?" by Ben Quash, "Something from Nothing: A Theology of Nothingness and Silence for Yves Klein's Le Vide" by Christina L. Carnes Ananias, and "Art, Place, and the Church: Thinking Theologically About Contemporary Art in the Worship Space" by Jennifer Allen Craft. I would not necessarily recommend this book for everyone, due to the academic tone and highly theoretical nature of some of the chapters (I especially have in mind the first part of the book which is more concerned with the nature of and how art and faith can be in dialogue), but if you have a good understanding of theology and enjoy the ability of art to cultivate an experience of beauty and a sense of God, then I highly recommend it.
September 5, 2018
For a series of independent essays, this reads well as a singular volume. There are ideas a plenty that challenge 20th century (perhaps current?) views of art's role in the body spiritual & the global community of believers. The content balance seems to be only slightly in favor of theory over practice, though examples abound.
October 11, 2023
In this collection of essays, a strong case is made for a more sympathetic, less confrontational relationship between the institutional church and the world of modern art. The book's authors address questions of understanding, assumptions, roles, and shared goals and desires; they also offer some examples of how contemporary art and the church have collaborated with success. The book outlines the need for "cultural diplomats" who are willing to bridge the divide between modern art and the average Christian. Well worth the time spent reading, this book is a valuable catalyst for thought.
Read more of my thoughts on this book here: https://www.ruins.blog/p/contemporary...
Read more of my thoughts on this book here: https://www.ruins.blog/p/contemporary...
Displaying 1 - 5 of 5 reviews