Understanding the process of turning an implement of death and violence into a tool for creativity and imagination is one part of the strategy. In doing so, there is hope that participants in such an event will begin to reimagine their own world and how they engage it. After all, true change first begins with imagining the possibility of such transformation.
Further, Reyes hopes to challenge U.S. citizens to consider their relationships with guns, and moreover, the impact that value has on people in other countries. Again, in the NPR story, Reyes explains, “We have to be allowed to ask questions. If you are not allowed to ask questions, you are not free."
An Iraqi woman dons a black hijab but bares her thighs. A Lebanese woman wearing a sheer blouse curls up on a bed, both innocent and seductive. An attractive young Iranian couple shares breakfast at a small table, seemingly oblivious to the tank looming just a few yards away.
There are no harems, belly dancers, or male oppressors in this photography show, nor any of the other Middle Eastern stereotypes that Westerners generally associate with that far away, often misunderstood, region.
“She Who Tells a Story,” a photo exhibit now showing at Boston’s Museum of Fine Arts and headed to other U.S. museums, features the work of 12 women from the Middle East who shatter stereotypes with works that are provocative, beautiful, mysterious, and surprising, all at the same time.
The 10 best U.S. films of 2013.
Way back in the day (circa 2004), Switchfoot's lead singer, Jon Foreman, was asked if the band is a “Christian” band. Even though it's been a while, his response is worth looking at again.
A blog by David Hilfiker / Sing to the Moon by Laure Mvula / High Rise Stories:Voices from Chicago Public Houses by Audrey Petty / Walk with Me by Tanisha Christie and Ellie Walton
It didn’t take long to erase the gun.
Greg Bokor’s ArtPrize drawing of an assault rifle at Grand Rapids’ Fountain Street Church was rubbed out Sept. 21 after the public was invited to wield erasers imprinted with sorrow.
Normally festive art lovers obliterated the killing machine with erasers bearing the names of 83 massacred children and adults. They included Jesse Lewis, age 6, one of 20 children killed at Sandy Hook Elementary School last December; Veronica Moser-Sullivan, also 6, youngest of 12 people killed in the 2012 Aurora, Colo. movie-theater slaughter; and the 45 victims of the Columbine High School and Virginia Tech shootings.
Within hours, the public had rendered the AR-15 just a faintly visible image. It was a powerful symbol of what many of us would like to see happen to these weapons of death so easily available to mentally deranged people seeking sick revenge.
Tragically, in real life, it is the children and other victims who have been so easily erased from our consciousness.
Meet “Our Lady of Perpetual Exhaustion,” a saint everyone probably can relate to.
The chaos of everyday life and the methods we use to overcome it are on display at the “Our Lady of Perpetual Exhaustion” exhibit in two D.C. galleries.
“We all have coping mechanisms,” said Cynthia Farrell Johnson, creator of the exhibit’s theme. “And for most of us, part of our coping mechanism is our spiritual life.”
Biblical writers suggest that God loves a holy mess. They compare God’s creative spirit to a strong wind, and we all know what happens when a powerful wind blows through our windows or through our lives — everything gets upended! One image in Genesis has God scooping up a bit of earth to create us. Yes, God had to get some dirt under the fingernails in order to bring us about.
Jesus was creative in how he touched and healed people, often making himself ritually unclean in the process. He embraced his uncleanliness.
Sadly, many religious institutions discourage us from doing the same.
For centuries, popes sponsored the work of artists such as Michelangelo, Raffaello, or Bernini, who went on to create some of their masterpieces within the very walls of the Vatican.
Yet over time, the marriage between art and faith grew stale — the Vatican’s culture minister even called it a “divorce” — with the Roman Catholic Church finding itself estranged from the art world it did so much to create.
Now, in a bid to revive its ancient tradition of arts patronage, the Holy See will participate with its own pavilion at the 2013 Venice Biennale, a leading international arts festival.