Studies in Theology and the Arts

Contemporary Art and the Church

Should Christians even bother with the modern wing at the art museum? After all, modern art and artists are often caricatured as rabidly opposed to God, the church-indeed, to faith of any kind. But is that all there is to the story? In this “Studies in Theology and the Arts” volume, coeditors Cameron J. Anderson and G. Walter Hansen gather the reflections of artists, art historians, and theologians who collectively offer a more complicated narrative of the history of modern art and its place in the Christian life. Here, readers will find insights on the work and faith of artists including Marc Chagall, Jackson Pollock, Mark Rothko, Andy Warhol, and more. For those willing to look with eyes of faith, they may just find that God is present in the modern wing too. “The Studies in Theology and the Arts”  series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

The good news of Jesus Christ is a subversive gospel, and following Jesus is a subversive act. These notions were embodied in the literary work of American author Flannery O'Connor, whose writing was deeply informed by both her Southern context and her Christian faith. In this volume in IVP Academic's Studies in Theology and the Arts series, theologian Michael Bruner explores OConnor's theological aesthetic and argues that she reveals what discipleship to Christ entails by subverting the traditional understandings of beauty, truth, and goodness through her fiction. In addition, Bruner challenges recent scholarship by exploring the little-known influence of Baron Friedrich von Hügel, a twentieth-century Roman Catholic theologian, on her work. Bruner's study thus serves as a guide for those who enjoy reading O'Connor and-even more so-those who, like O'Connor herself, follow the subversive path of the crucified and risen one.

The biblical themes of creation and new creation are inextricably bound to each other. For the God who created the world is the same God who recreates humanity in Jesus Christ and the same God who promises a new heaven and a new earth. How might the relationship between creation and new creation be informed by and reflected in the arts? This volume, based on the DITA10 conference at Duke Divinity School, brings together reflections from theologians, biblical scholars, and artists to offer insights on God's first work, God's future work, and the future of the field of theology and the arts. “The Studies in Theology and the Arts”  series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

The tension between Christianity and the arts is often real. But it also offers a false dichotomy. Many Christian artists think that they must choose between their faith and their artistic calling. Drawing upon his experiences as both a Christian and a practicing artist, Cameron J. Anderson explores the dynamics of faith and art in this latest volume in IVP Academics Studies in Theology and the Arts series. Tracing the relationship between evangelicalism and modern art in postwar America-two entities that often found themselves at odds with each other-Anderson raises several issues that confront artists. With skill, sensitivity and insight, he considers questions such as the role of our bodies and our senses in our experience of the arts, the relationship between text and image, the persistent dangers of idolatry, the possibility of pursuing God through an encounter with beauty and more. Throughout this study, Anderson's principal concern is how Christian artists can faithfully pursue their vocational calling in contemporary culture. Readers will find here not only an informed and thoughtful response, but also a vision that offers guidance and hope.

How might film reveal God? In its most basic form, film is a series of images displayed over time. Of course, film has developed greatly since the Lumière brothers by adding components such as sound, special effects, digital recording, and more to create an increasingly complex artistic medium. Historically, film studies have often focused on the narrative aspect of film as it seeks to tell a story. More recent studies, however, have turned attention to other elements of film, such as the musical score. Yet, film remains, in a sense, a series of images. In this study, the latest in IVP Academic's Studies in Theology and the Arts (STA) series, theologian Richard Goodwin considers how the images that constitute film might be a conduit of God's revelation. By considering works by Carl Theodor Dreyer, Stanley Kubrick, Paul Thomas Anderson, Robert Bresson, Martin Scorsese, Terrence Malick, and more, Goodwin argues that by inviting emotional responses, film images can be a medium of divine revelation. Blessed are those who have seen God... through film.

"I cannot suppose any situation more distressing than for a woman of sensibility with an improving mind to be bound to such a man as I have described." Mary Wollstonecraft's response to one of her early critics points to the fact that fiction has long been employed by authors to cast a vision for social change. Less acknowledged, however, has been the role of the Christian faith in such works. In this latest volume in IVP Academic's Studies in Theology and the Arts series, literary scholar Dalene Joy Fisher explores the work of four beloved female novelists: Jane Austen, Anne Brontë, Elizabeth Gaskell, and Mary Wollstonecraft. Each of these authors, she argues, appealed to the Christian faith through their heroines to challenge cultural expectations regarding women, especially in terms of marriage. Although Christianity has all too often been used to oppress women, Fisher demonstrates that in the hands of these novelists and through the actions of their characters, it could also be a transformative force to liberate women.

We are, each one of us, situated in a particular place. As embodied creatures, as members of local communities and churches, as people who live in a specific location in the world, we all experience the importance of place. But what role does place play in the Christian life and how might our theology of place be cultivated? In this Studies in Theology and the Arts volume, Jennifer Allen Craft argues that the arts are a significant form of placemaking in the Christian life. The arts, she contends, place us in time, space, and community in ways that encourage us to be fully and imaginatively present in a variety of contexts: the natural world, our homes, our worshiping communities, and society. In so doing, the arts call us to pay attention to the world around us and invite us to engage in responsible practices in those places. Through this practical theology of the arts, Craft shows how the arts can help us by cultivating our theological imagination, giving shape to the Christian life, and forming us more and more into the image of Christ.

For many Christians, engaging with modern art raises several questions: Is the Christian faith at odds with modern art? Does modernism contain religious themes? What is the place of Christian artists in the landscape of modern art? Nearly fifty years ago, Dutch art historian and theologian Hans Rookmaaker offered his answers to these questions when he published his groundbreaking work, Modern Art and the Death of a Culture, which was characterized by both misgivings and hopefulness. While appreciating Rookmaaker's invaluable contribution to the study of theology and the arts, this volume―coauthored by an artist and a theologian―responds to his work and offers its own answers to these questions by arguing that there were actually strong religious impulses that positively shaped modern visual art. Instead of affirming a pattern of decline and growing antipathy towards faith, the authors contend that theological engagement and inquiry can be perceived across a wide range of modern art―French, British, German, Dutch, Russian and North American―and through particular works by artists such as Gauguin, Picasso, David Jones, Caspar David Friedrich, van Gogh, Kandinsky, Warhol and many others. This book, the first in IVP Academic's new Studies in Theology and the Arts series, brings together the disciplines of art history and theology and points to the signs of life in modern art in order to help Christians navigate these difficult waters.

Many consider Georges Rouault (1871–1958) to be one of the most important religious painters of the last few centuries. Yet both the secular art world and the church have struggled to engage with his work, which is profoundly shaped by his Christian faith and also starkly explores the pain and darkness of human experience. In this volume, a group of theologians, artists, and historians seek to bring Rouault out of the shadows. They offer a deeper understanding of the theological impulse of modern art and of Rouault's distinct contributions. Chapters explore how Rouault's unique work was influenced by his historical context, by personal suffering, and by biblical themes, especially the Passion of Christ. Essays are interspersed with original artistic responses to Rouault in the form of images and poetry, with contributions from Sandra Bowden, William A. Dyrness, Thomas Hibbs, Soo Kang, and others. Rouault displays our need for mercy within a world of anguish. This book explores how his prophetic creativity continues to inspire artists and thinkers seeking to understand the powerful intersection of lament and hope. The Studies in Theology and the Arts  series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

Instead of the cross, the Albatross About my neck was hung. Samuel Taylor Coleridge's famous poem "The Rime of the Ancient Mariner" is often regarded as having heralded the beginning of the Romantic era in British literature. The poem narrates the story of a sailor who has returned home from a long voyage having suffered great loss, yet survived. In this Studies in Theology and the Arts volume, poet and theologian Malcolm Guite leads readers on a journey with Coleridge, whose own life paralleled the experience of the mariner. On this theological voyage, Guite draws out the continuing relevance of this work and the ability of poetry to communicate the truths of humanity's fallenness, our need for grace, and the possibility of redemption.

Discover a New Dimension of Faith and Cinema with The Wages of Cinema In a captivating realm where cinematic narratives enchant countless viewers, how can one harmonize their faith with the craft of filmmaking? The Wages of Cinema encourages a deep dive into this relationship, drawing upon the significant reflections of Dorothy L. Sayers defending the authenticity of art and truth's manifestation. The Wages of Cinema uses examples ranging from the timeless genius of Charlie Chaplin to the cultural phenomenon of Barbie, illustrating how film theory can be enriched by the truths of the Christian faith. The Wages of Cinema will help readers appreciate artistry through: - Enlightening Models: Learn how Christians can discuss films intelligently, transcending simple content critique. - Historical Insights: Delve into the history of cinema and the evolution of film theories. - Sayers's Legacy: Uncover little-known evidence of Dorothy Sayers's engagement with cinema, shedding light on her passion for truth and artistic integrity. Dive into The Wages of Cinema and transform your movie-watching into a meaningful dialogue between faith and art. Whether you're a student of film or a passionate movie lover, The Wages of Cinema will broaden your horizon and deepen your appreciation of cinema.