At a moment when the world is flush with new books and ever-evolving interpretations of Jesus, one of the last century’s artistic masters is providing art lovers with a striking take on the first-century religious figure.
The first U.S. exhibition exploring the “darker works” of Marc Chagall (1887-1985) shows a Jewish artist obsessed with Jesus.
“Chagall: Love, War, and Exile,” at The Jewish Museum in New York showcases the work of the Russian-French artist during World War II as he tried to make sense of a world gone mad.
Of particular interest are paintings depicting the crucified Jesus — depictions that are often read as metaphors not only for war but the particular expressions of Jewish suffering and persecution in Europe during the 1930s and 1940s.
(Editor's Note: This post was adapted from the author's speech at the Christianity 21 Conference in Denver.)
When I was in seminary, one of my best friends came up with a brilliant theological … pick up line:
"Hey, baby. What’s your hermeneutic?"
Despite the genius of that question, we soon discovered that anytime you start a pick up line with “Hey, baby” you’re in some trouble.
But it’s such a great question. Think of all the relationships that would have avoided painful break ups if they just defined the relationship in the beginning by answering the question “What’s your hermeneutic?"
The old city of Jerusalem is smaller than one square mile. In 5,000 years of recorded human history there have been 180 conflicts around the city. It has been conquered 44 times, and completely destroyed twice. The story of conflict in this city is clearly not a new story.
When the producers of Jerusalem, a new movie for IMAX and other giant screen theaters, decided to approach the topic, they wanted to bring a fresh perspective to the long history.
“Jerusalem is a city in conflict,” said Taran Davies, one of the producers of Jerusalem, at a recent screening of the movie. “We wanted a new way to think about it. This [movie] is more a celebration.”
Author’s note: If you know me, you’d know that that I think the most important thing (of the things we worship ) is Jesus. And you’d also know that I love Arrested Development, with almost the same type of devotion I typically reserve for God. As a former “professional church lady,” crafting prayers was right in my wheelhouse. So I’ve composed a psalm entirely out of Arrested Development quotes based on the ACTS style of prayer, because it is right, and a good and joyful thing, always and everywhere to give thanks to God. And also … not Aunt Lindsay’s nose.
Oh God. (AD 2:13)
I love you. (AD 1:7)
We all must seek forgiveness. I’ve always tried to lead a clean life. My brother and I were like those Biblical brothers, Gallant and, um … Goofuth. (AD 2:14)
This year I have been trying something new to me. I’m trying my hands at a little music or concert review. It’s a chance to experiment with this nascent methodology I’m developing. The posts have been some of the most commented upon on Facebook and even on the blog. Thanks for everyone’s engagement!
Though not the beginning, certainly the central review is this duo about Mumford and Sons and eschatological banjos. Cathleen Falsani was in town and we had a great time at these shows. These concerts are all about the eschaton, transcendence, immanence, and banjos. There are always banjos. I know.
It’s the end of the year and, as always, a great time to reflect on what has happened over the past 12 months. I’ve been blessed to have so many talented and diverse writers share their voices and views alongside me on the God’s Politics blog. I want to take this opportunity to share some of my favorite posts from this past year with you, in no particular order.
We had so many great posts this year that explored the different facets of our faith. If you haven’t read them yet, make sure you look at:
What Good is a Ph.D. for reading the Bible? by Rev. Dr. Guy Nave
Five Things That Are Holding Christianity Back by Christian Piatt
10 reasons Why Men Should Not Be Ordained For Ministry by Eugene Cho
Women and Girls
Since the 1970s, Sojourners has been committed to resisting sexism in all its forms, while affirming the integrity and equality of women and men in the church and in the larger world. This year we’ve been even more intentional about looking at these topics through our blog and magazine.
As you make your winter reading list or shop for gifts, consider these 2013 books from Sojourners magazine staff and contributors. Or, buy yourself a gift for 2014.
The Native American narrative remains largely unknown in U.S. majority culture. It is glaringly absent in most school curriculums, and remains unheard in modern dominant politics. One crucial stream of Native culture I’ve recently come to learn about is the destructive legacy of Christian-run Indian boarding schools.
What began with genuinely good intentions (in those days, “European” norms were viewed as superior, “sameness” seemed like a good idea, and the threat of legitimate genocide lingered over tribes) rapidly deteriorated, with Christian boarding schools becoming institutions of forced assimilation and abuse.
Beginning in the 1800s and lasting into the 20th century, Native children were forcibly removed from their families and sent to live in boarding schools. Finding the task of “civilizing” Native adults beyond its ability, the federal government delegated the task of “normalization” to churches, which could educate, or, inculcate, children from a young age.
One of the downsides of a theological education (and/or an overactive theological imagination) is an inability to sing some favorite old hymns with naive gusto. During this Christmas season in particular, we simply know too much about the biblical story (and the reality of childbirth and babies in general) to fully believe all of the touching words in some of the most popular Christmas carols.
So as a public service, I have written historically accurate versions of three of the most beloved holiday hymns. Without personally endorsing any of the theology below, I also offer some alternatives to those who don't theologically jive with the current version of "Joy to the World."
Sister Churches: American Congregations and Their Partners Abroad by Janel Kragt Bakker / The State of Arizona by Catherine Tambini and Carlos Sandoval / Walking the Disciple's Path: Eight Steps That Will Change Your Life and the World by Linda Perrone Rooney / Being Both: Embracing Two Religions in One Interfaith Family by Susan Katz Miller
While sitting listening to a musician pour out her heart through music at a show the intern house hosted, I was challenged. The emotions in her voice communicated her story and as I sat there pleasantly soaking in the music and admiring her vulnerability, I also realized I wouldn’t want to put myself out there like that. At that same moment, I stopped and thought, is that how I view church? Do I put up those same walls with God?
Vulnerability is difficult, when our culture thrives on individualism. Television shows, books, and movies tell us that we can create the world we desire through our own strength. This culture tells us that we are the creators of our reality, a societal standard that has seeped into the church, creating a standard of self-reliance and individualism.
Brennan Manning stated, “the church is not a museum for saints but a hospital for sinners.” The church “hospital” should be the place where we come ready for healing and treatment. As such, people generally do not go to a hospital hiding their wounds and disease expecting to get better. This self-medication can only cover the symptoms while never combating the true source of the ailment. The truth is that in life, we are all terminally ill patients with different pains in desperate need of a doctor. In this, we are not alone in the fight.
At the heart of the Vatican’s new “Metamorphosis of Space” exhibit featuring the works of Spanish architect and artist Santiago Calatrava is the first-ever public display for the model of New York’s St. Nicholas Greek Orthodox Church.
The exhibit’s curator, Micol Forti, said the relationship between the project and the Vatican is casual — “It’s not even a Catholic Church,” she said of St. Nicholas — yet the magnetism of the model is immediately apparent.
“This exhibit is part of a dialogue with contemporary culture, and this particular piece is a large part of it,” Forti said. She pointed out an adjacent series of watercolor paintings Calatrava made to show a kind of evolution between the design of the church and a classic portrait of the Madonna and Child.