We were walking up the beach, on the sand as the tide moved out toward the ocean. I was holding Zeke's hand, talking with him about sea things. "I didn't know jellyfish swam this close to the shore during the spring," he said in 5-year-old wonderment. "I bet that drift wood is as old as The Old Man and the Sea. I think a horseshoe crab's blood can be used to treat cancer."
"Look," I said.
"What is it, Dad?" he asked.
I picked up a shell out of the deep, hot sand and held it in my open hand.
In the middle of the 16th century, Catholic bishops and theologians met sporadically in the city of Trento in northern Italy to discuss the church's response to the Reformation. Over the course of 18 years, the Council of Trent produced documents correcting abuses like indulgences and other corruption.
In 1564, the council ordered that some naked figures in Michelangelo's massive "Last Judgment" fresco in the Sistine Chapel be covered up as a result of the council's dictate that "all lasciviousness be avoided; in such wise that figures shall not be painted or adorned with a beauty exciting to lust."
It will be difficult for critics to compare Michelangelo's nudes with the ones photographed by the Rev. John Blair. Just after the Episcopal Diocese of Missouri launched an investigation of the St. Louis priest, many of his photos of nude models were removed from the Internet.
And yet the diocese's disciplinary board, whose members will decide if Blair's photography constitutes sexual misconduct, will try to answer the same question as Trent's participants 450 years ago: How does the church recognize the beauty of art that depicts God's creation — the human form — without seeming to condone "a beauty exciting to lust"?
Two years after the Sept. 11 attacks, Timothy O'Leary sat in an audience of 2,000 New Yorkers listening to the Brooklyn Philharmonic perform a concert about terrorism — the 1985 murder of an American tourist by members of the Palestine Liberation Front on a Mediterranean cruise ship. It was one of the most powerful moments he'd ever had in a theater.
Terrorism stories are rarely happy stories, and yet the path O'Leary has taken — from bringing the controversial opera "The Death of Klinghoffer" to St. Louis last year to a Sept. 11 memorial concert on Sept. 9 — ends with a hopeful, permanent pairing of faith and the arts in St. Louis.
This is a brief missive for your enjoyment. I just returned from the Wild Goose Festival in Corvallis, Ore.
Yes, Oregon and not North Carolina. You see, in a fit of wisdom, the good people of Wild Goose found a west coast location. I hope it worked well for them because I'm sold on the place.
I wish you could have been there. It was amazing. To tantalize you into attending next year, here (in no particular order) are Nine Good Reasons to Attend The Wild Goose Festival.
1. There are no bugs.
None. Well, some flies, but this is Oregon and not North Carolina and though the nights are chilly and the mornings moreso (I awoke the last morning to see my breath in the air), the sun arose and everything warmed up to make for some of the most beautiful weather you'll ever experience.
National Geographic Traveler Photo Contest selects 11 winners out of 12,000+ entries --- Kirby Ferguson's TED talk on originality, creativity, and remixing --- billboards play on Shell's slogan, stick it to the corporate oil giant --- world's first all-female Street Art conference kicks off --- pickin' tunes from the Milk Carton Kids. See these and more in today's Links of Awesomeness...
Peter Jackson releases a second trailer for The Hobbit: An Unexpected Journey --- feminist Ryan Gosling to become coffee table book --- animals forming their own bands --- Conan O'Brien's "Clueless Gamer" --- Sesame Street minimalist art --- Stephen Colbert's music performance festival Setphest Colbchella. See these and more in today's Links of Awesomeness...
THOSE OF US who are passionate about prison reform could talk at length about the injustices of the penal system, but prison activists and concerned citizens sometimes gloss over the internal conflicts of prisoners in their daily lives as well as the pain and fears of crime victims in local communities. The documentary Concrete, Steel, and Paint raises some essential questions about hope, forgiveness, and reconciliation through the moving story of unlikely partners—those incarcerated for committing violent crimes and those affected by violent crimes—who come together to create a mural in their community.
The film begins at Graterford Prison near Philadelphia, a maximum-security institution where men are serving long sentences for violent crimes, including homicide. The men interviewed for the film seem thirsty for opportunities for healing. One of the first prisoners we meet, Tom, says: “When you do wrong that you can’t correct, it’s horrible.” Another inmate, Zafir, tells the camera: “I don’t want my legacy to be that I was a murderer.”
The energy for a mural project came from Jane Golden, the executive director of the Philadelphia Mural Arts Program, who believes in the power of art, and murals in particular, “to shift the consciousness of a community.” Golden began working with prisoners in Graterford in the early 2000s. The men in her workshops eventually came up with the idea to reach out to the community. “I thought it was an interesting idea,” Golden says, “but I told them the only way this can possibly work is if we can get the community involved.”
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Break out the tambourines and rise up singing! A hymn revival is happening … again.
This month, The Lower Lights continue to shine as they release a second stand-out collection of hymns, aptly titled, “A Hymn Revival II.” And this time around, the group of 20+ musicians expands their repertoire outside of the “American Protestant” catalog, and into the wider collection of folk music, including country classics like Hank Williams’ “I Saw the Light” and “Calling You,” the African-American spiritual “Go Down Moses,” and the familiar Irish hymn “Be Thou My Vision.”
Each of the 16 tracks on “A Hymn Revival Vol. II,” glow with intention. Whether it’s the soft but steady pulse of the song “Nearer My God to Thee,” or the call-and-response elicited from snappy chorus of “In the Sweet By and By,” The Lower Lights’ sophomore album presents another authentic look at the joy of the Christian life found in community and comradery, all propelled by the sacred art of making music.
Combining images and words from advertising, pop culture, and religion, the bold graphic art of Sister Mary Corita was as deeply representative of the spirit of the 1960s as it was ubiquitous in church basements, dorm rooms. and urban communes of people involved in the struggle for civil rights and the campaign to end the Vietnam War.
In today's visual and graphically dominant popular culture, Corita's work — her bold typography, vivid colors, the use of ad logos and slogans — resonates with a new generation, attracted by what has been called "her festive involvement in the world'' and her interest in "blurring the lines between art and life.''
"Corita's art from the 1960s, which is based in advertising, has this great pop appeal to us today in our media-saturated culture,'' said Kathryn Wat of the National Museum of Women in the Arts in Washington.
"Sun Boxes" a solar powered outdoor art installation of music – life size Hot Wheels track earns World Record –belt buckle flask –summery fruit sculptures –man plays typewriter in symphony –realistic names for common snack foods – and eleven months of hard work finally pays off in this stunning video of a used engine rebuilt. See today's Links of Awesomeness for all the details...