Today I'm concluding my interview with Stephanie Tumney, a stone sculptor. At an early age, her creativity and love for art were evident. In kindergarten, her favorite sculptor was Michelangelo, and she is still influenced by his work today, along with others such as Bernini, Picasso and Henri Moore.
Stephanie graduated from the Corcoran College of Art and Design in Washington, DC. She has shown in galleries, museums and private homes in California, Massachusetts, North Carolina, Virginia, Washington DC, and Cairo Egypt. She works primarily as a sculptor, although she enjoys drawing, painting and photography as well. Her work in stone is often figurative, in poses that depict raw emotion, as well as spiritual and psychological transformation.
Sculpting is a spiritual exercise for Stephanie. Her work is derived from Scripture, often the Psalms. She tries to meditate and pray while she sculpts, depending on God throughout the process, and rejoicing at His work when it is finished.
Stephanie grew up on the East Coast, in Massachusetts, and currently resides in Campbell, California, with her husband Mark, who is a Presbyterian Pastor.
LeAnne: How does your faith impact your sculpting?
Stephanie: My faith and my sculpting are intricately intertwined. I hesitate to say “my sculpting” because I have to be so dependent on God throughout the process, that it isn’t really my sculpting at all. I can take credit for the mistakes, but anything that is good and beautiful must be credited to the Ultimate Artist.
The sculptures I make are always derived from or inspired by God’s Word. Many times it is the Psalms, whose raw emotion and visual images lend themselves greatly to art. During the process of sculpting, I try to pray and meditate on the chosen scripture verses. I pray for people I know, and those I don’t, people that feel the same way as what I am depicting. Particularly with stone, I end up praying a lot for God to turn my mistakes into something great for Him, my life mistakes and my sculpting mistakes.
LM: Have you faced career challenges because of your faith?
ST: Yes. Honestly, I think that in any career, a Christian faces challenges because of their faith, even “Christian careers” like being a pastor. It just would be so much easier to give in to the way of the world, but we are told to fight against it, to love our enemies, to flee from evil. It is very difficult to be a Christian in the art world, particularly a Christian who believes that Jesus Christ is the only way to God the Father, who gave us His Holy Spirit, our Helper. Many not-yet-Christians are willing to tolerate my faith as long as it doesn’t interfere with theirs. But if one person believes the Earth is round, and another believes it is flat, both can’t be right. You are both going to be preparing for very different journeys, and it’s a Christian’s responsibility and charge to show the truth out of love for them. I still don’t do this very well.
Some people in the art world are intrigued by the commitment and conviction of being a Christian. Others have been hurt in the past by other Christians who were not acting like Christ at that moment, and there are good and healing conversations sometimes. Still other artists try to be as shocking and as offensive as possible, and I struggle most in those situations. It is also challenging to put Christian themes into a context that not-yet-Christians would not be repulsed by, but drawn toward, and prayerfully introducing Christ to them.
LM: What are you working on now?
ST: Right now, I am working in a couple of different areas. I have been learning how to sculpt in bronze, and am now working on two almost life-size figures, male and female slaves, in poses that allude to Michelangelo’s slave series.
I have also been experimenting with a stone called dolomite, whose physical properties are similar to marble, but whose chemical properties are more akin to limestone. I have just finished a small piece this week of a grieving figure based on Psalm 69, and am working on ideas for the future.
Thursday, April 17, 2008
Monday, April 14, 2008
Stephanie Tumney, Part 1: Working with Stone
Stephanie Tumney is a stone sculptor. At an early age, her creativity and love for art were evident. In kindergarten, her favorite sculptor was Michelangelo, and she is still influenced by his work today, along with others such as Bernini, Picasso and Henri Moore.
I love sculpting in particular for many reasons. It is extremely challenging, and I enjoy the mind puzzles that result. Stone sculpting is also very physical and very dirty, which makes it a lot of fun for me. Stone is an organic element; it is unfabricated, real, and unpredictable. It seems to take on a direction and a life of its own. In a society where so much is expendable, cheap, machine-manufactured, controlled and predictable, I enjoy the opposite qualities of stone.
LM: How is your work received by nonChristians?
ST: Although I have made work for several churches, the bulk of my artistic career has been through shows in secular galleries. My work has been well received by not-yet-Christians so far. I think that this is in part because I have artistic integrity, and my work is not overtly, in-your-face Christian or preachy. I try to be a witness by using visual and literal language that not-yet-Christians would understand and identify with, and introduce Jesus to them in their own context. For instance, I have a piece based on the first three verses of Psalm 128. It consists of three figures, one in a grief stricken fetal position, another rising up, shouldering an invisible burden, another wrestling triumphantly with an abstracted cord or snake. In the secular world, the title is Revolve, and the theme of grief, struggle and overcoming resonates with Christians and not-yet-Christians alike. This particular piece has spurred many interesting conversations with not-yet-Christians. However, the true depth of meaning can only be fully understood from a Christian perspective.
Another example of how I have been received outside of a Christian environment is the show I had in Cairo, Egypt. The culture there is predominately Muslim, and Muslims share some of the same Old Testament stories with us. Some of the pieces that I showed there picked up on that commonality, in Adam, Eve and the serpent. Because what we have in common was showcased first, I think the artwork that was solely Christian was viewed more openly. The show was very well received and hugely publicized.
LM: What has been an important highlight of your career so far?
ST: From the perspective of the world, the most important highlight of my career would be that show in Cairo because of the publicity and important political dignitaries who attended. However, my truly greatest highlight would be when I was living in North Carolina. God sent me an amazing connection to limestone there, and a period of time without distractions. Because of this, I was able to spend my entire day praying and sculpting, for a year or so. It was an artistic breakthrough, and I have never been happier.
More from Stephanie Tumney on Thursday.
Stephanie graduated from the Corcoran College of Art and Design in Washington, DC. She has shown in galleries, museums and private homes in California, Massachusetts, North Carolina, Virginia, Washington DC, and Cairo Egypt. She works primarily as a sculptor, although she enjoys drawing, painting and photography as well. Her work in stone is often figurative, in poses that depict raw emotion, as well as spiritual and psychological transformation.
Sculpting is a spiritual exercise for Stephanie. Her work is derived from Scripture, often the Psalms. She tries to meditate and pray while she sculpts, depending on God throughout the process, and rejoicing at His work when it is finished.
Stephanie grew up on the East Coast, in Massachusetts, and currently resides in Campbell, California, with her husband Mark, who is a Presbyterian Pastor.
LeAnne: What is your background in sculpting? What draws you to it?
Stephanie: My first sculpture was a terrier that I made out of layering and sanding cardboard, when I was 7 years old. Since then I have been sculpting out of whatever materials were available: paper, acrylic, fabric, wire, clay, plaster, bronze, wood and wax. I was introduced to stone carving while I was at the Corcoran College of Art and Design, and immediately fell in love. I have also gone to Greece to learn from a master marble sculptor there. Currently I am exploring the possibilities of bronze at San Jose State.
I love sculpting in particular for many reasons. It is extremely challenging, and I enjoy the mind puzzles that result. Stone sculpting is also very physical and very dirty, which makes it a lot of fun for me. Stone is an organic element; it is unfabricated, real, and unpredictable. It seems to take on a direction and a life of its own. In a society where so much is expendable, cheap, machine-manufactured, controlled and predictable, I enjoy the opposite qualities of stone.
LM: How is your work received by nonChristians?
ST: Although I have made work for several churches, the bulk of my artistic career has been through shows in secular galleries. My work has been well received by not-yet-Christians so far. I think that this is in part because I have artistic integrity, and my work is not overtly, in-your-face Christian or preachy. I try to be a witness by using visual and literal language that not-yet-Christians would understand and identify with, and introduce Jesus to them in their own context. For instance, I have a piece based on the first three verses of Psalm 128. It consists of three figures, one in a grief stricken fetal position, another rising up, shouldering an invisible burden, another wrestling triumphantly with an abstracted cord or snake. In the secular world, the title is Revolve, and the theme of grief, struggle and overcoming resonates with Christians and not-yet-Christians alike. This particular piece has spurred many interesting conversations with not-yet-Christians. However, the true depth of meaning can only be fully understood from a Christian perspective.
Another example of how I have been received outside of a Christian environment is the show I had in Cairo, Egypt. The culture there is predominately Muslim, and Muslims share some of the same Old Testament stories with us. Some of the pieces that I showed there picked up on that commonality, in Adam, Eve and the serpent. Because what we have in common was showcased first, I think the artwork that was solely Christian was viewed more openly. The show was very well received and hugely publicized.
LM: What has been an important highlight of your career so far?
ST: From the perspective of the world, the most important highlight of my career would be that show in Cairo because of the publicity and important political dignitaries who attended. However, my truly greatest highlight would be when I was living in North Carolina. God sent me an amazing connection to limestone there, and a period of time without distractions. Because of this, I was able to spend my entire day praying and sculpting, for a year or so. It was an artistic breakthrough, and I have never been happier.
More from Stephanie Tumney on Thursday.
Friday, April 11, 2008
On Writing and Books
“A small drop of ink produces that which makes thousands think.” Lord Byron
“I cannot remember a time when I was not in love with them—with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself.” Eudora Welty
“A real book is not one that we read but one that reads us.” W. H. Auden
“The contents of someone’s bookcase are part of his history, like an ancestral portrait.” Anatole Broyard
“The good book is always a book of travel; it is about a life’s journey.” H. M. Tomlinson
“There is no worse robber than a bad book.” Italian proverb
Next week: another great interview
“I cannot remember a time when I was not in love with them—with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself.” Eudora Welty
“A real book is not one that we read but one that reads us.” W. H. Auden
“The contents of someone’s bookcase are part of his history, like an ancestral portrait.” Anatole Broyard
“The good book is always a book of travel; it is about a life’s journey.” H. M. Tomlinson
“There is no worse robber than a bad book.” Italian proverb
Next week: another great interview
Monday, April 07, 2008
Poets Past (and Present), Part 2
Throughout the ages, poetry—both the writing and the reading of it—has helped us make sense of the human experience. Poems written by Christians that have stood the test of time often ask difficult questions, exploring the depths of our relationship to a holy but loving God. With beautiful words and images, these poets’ work can give glory to God and edify and encourage their readers. Here are a few of them through the eyes of readers who admire their work.
Note: This is an excerpt from an article that appeared in The Lookout, December 17, 2006 . I posted the beginning of the article a few weeks ago if you'd like to read it.
Gerard Manley Hopkins (1844-1889): British Victorian poet and priest.
Jeanne Murray Walker, professor of English at University of Delaware and award-winning author of six volumes of poetry: Gerard Manley Hopkins didn’t succeed in getting his work published during his lifetime. Now we think of him as one of the pre-eminent 19th century poets. Good for [beginning readers of poetry] are “Pied Beauty” and “God’s Grandeur.”
13. Pied Beauty
GLORY be to God for dappled things-
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced-fold, fallow, and plough; 5
And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change: 10
Praise him.
C. S. Lewis (1898-1963): Irish-born professor, scholar, novelist, and after converting to Christianity from atheism, a well-respected apologist for the faith.
David Bruce Linn, pastor-teacher, radio Bible teacher, and writer: C.S. Lewis, in his one piece As the Ruin Falls, destroys me with the transparency of a man whose heart has been stripped bare by the Holy Spirit. Phil Keaggy wrote this poem into a song which enabled many of us to memorize it easily. It was not hard to remember, but it has taken me decades to appreciate the burning depths of spiritual reality Lewis expressed.
Here are some contemporary poets whose faith informs their work.
Wendell Berry (1934- ): American poet, novelist, essayist, and farmer.
Beverly Key, visual artist: I love Wendell Berry. He is from Kentucky, lives on a farm and taught for many years at the University of Kentucky. His work is tied to the land and ecology and our responsibility to it as Christians and humans. Two particular favorites begin - “When despair for the world grows in me” and “I think of Gloucester blind, led through the world.”
I respect Berry’s balanced view of what is God’s responsibility and what is our responsibility. Berry seems to be the kind of man who lives his beliefs, has a deep reverence for life and a keen sense of justice. Whenever I read him I take hope.
Jane Kenyon (1947-1995): American poet and translator.
Phil Bauman, senior pastor: Jane Kenyon wandered away from Christianity. While at college at the University of Michigan, she married her professor, Donald Hall (who is the past Poet Laureate of the U.S.). They moved back to New Hampshire and started attending a little country church and over time she regained her faith. She wrote one of my favorite poems called “Let Evening Come.” I like its confidence and gentleness, both rooted in the lovingkindness and faithfulness of God. I find it almost musical and read it like a psalm, or as a litany.
Other contemporary poets recommended by our readers include Scott Cairns, Robert Seigel, Luci Shaw, and Jeanne Murray Walker.
Note: This is an excerpt from an article that appeared in The Lookout, December 17, 2006 . I posted the beginning of the article a few weeks ago if you'd like to read it.
Gerard Manley Hopkins (1844-1889): British Victorian poet and priest.
Jeanne Murray Walker, professor of English at University of Delaware and award-winning author of six volumes of poetry: Gerard Manley Hopkins didn’t succeed in getting his work published during his lifetime. Now we think of him as one of the pre-eminent 19th century poets. Good for [beginning readers of poetry] are “Pied Beauty” and “God’s Grandeur.”
13. Pied Beauty
GLORY be to God for dappled things-
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced-fold, fallow, and plough; 5
And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change: 10
Praise him.
C. S. Lewis (1898-1963): Irish-born professor, scholar, novelist, and after converting to Christianity from atheism, a well-respected apologist for the faith.
David Bruce Linn, pastor-teacher, radio Bible teacher, and writer: C.S. Lewis, in his one piece As the Ruin Falls, destroys me with the transparency of a man whose heart has been stripped bare by the Holy Spirit. Phil Keaggy wrote this poem into a song which enabled many of us to memorize it easily. It was not hard to remember, but it has taken me decades to appreciate the burning depths of spiritual reality Lewis expressed.
Here are some contemporary poets whose faith informs their work.
Wendell Berry (1934- ): American poet, novelist, essayist, and farmer.
Beverly Key, visual artist: I love Wendell Berry. He is from Kentucky, lives on a farm and taught for many years at the University of Kentucky. His work is tied to the land and ecology and our responsibility to it as Christians and humans. Two particular favorites begin - “When despair for the world grows in me” and “I think of Gloucester blind, led through the world.”
I respect Berry’s balanced view of what is God’s responsibility and what is our responsibility. Berry seems to be the kind of man who lives his beliefs, has a deep reverence for life and a keen sense of justice. Whenever I read him I take hope.
Jane Kenyon (1947-1995): American poet and translator.
Phil Bauman, senior pastor: Jane Kenyon wandered away from Christianity. While at college at the University of Michigan, she married her professor, Donald Hall (who is the past Poet Laureate of the U.S.). They moved back to New Hampshire and started attending a little country church and over time she regained her faith. She wrote one of my favorite poems called “Let Evening Come.” I like its confidence and gentleness, both rooted in the lovingkindness and faithfulness of God. I find it almost musical and read it like a psalm, or as a litany.
Other contemporary poets recommended by our readers include Scott Cairns, Robert Seigel, Luci Shaw, and Jeanne Murray Walker.
This week, I'm going to visit two good friends. I'll post again on Friday instead of Thursday.
Wednesday, April 02, 2008
Dallas Kinney, Part 2: The Defining Moment
Today I'm concluding my interview with Dallas Kinney, Pulitzer-Prize-winning photojournalist, writer, director of graphic arts, and Sunday features editor. He has also worked in computer-based multimedia, television and film production. Kinney's communication skills have been utilized by many of the nation's prominent newspapers and magazines, by major profit and non-profit corporations and by national television networks.
As a newspaper journalist he has worked for the Washington Evening Journal (Iowa); Dubuque Telegraph Herald (Iowa); Palm Beach Post (Florida); Miami Herald (Florida); and the Philadelphia Inquirer (Penn).
As a photojournalist, Kinney received the following awards: Pulitzer Prize for Photojournalism, Robert F. Kennedy Journalism Award, World Press Association/Photojournalism, and more.
Kinney's photojournalism has been featured in exhibits at the National Geographic Society (Martin Luther King assassination); Pulitzer Prize Photos exhibits in Japan and Korea (current); Traveling Exhibit of Pulitzer Prize Photos to U.S. Universities and Colleges (current), and more.
Kinney has been a featured speaker and lecturer at the National Geographic/University of Missouri Visual Workshop, the Medil School of Journalism, Miami Communications Conference, the World Press Institute, and more. With his wife Martha, Kinney co-authored and presented eight daylong communication and marketing workshops for the international fine art industry in Miami Beach, Los Angeles, New York City and Atlanta.
Kinney preceded his photojournalism career as a student of renowned nature photographer Ansel Adams in Carmel, Calif. He confirms his abiding love for and ongoing desire to create “Adams-like” photographs.
LeAnne: In 1970, you won the Pulitzer Prize for feature photography. How did that experience affect your career and your life?
Dallas: I’ve been blessed-of-men in my journalism career: a writer/photographer for the Washington Evening Journal, Washington, Iowa; Dubuque Telegraph Herald, Dubuque, Iowa; Miami Herald, Miami, Fla.; and the Palm Beach Post, West Palm Beach, Fla.; Director of Graphic Arts at the Philadelphia Inquirer, Philadelphia, Penn.; and Sunday Features Editor, with a return to the Palm Beach Post.
During the turbulent ‘60’s, I covered the assassinations of two influential Americans: Dr. Martin Luther King, Jr. and Robert “Bobby” Kennedy. I was in Memphis the day after Dr. King was assassinated, and I had an exclusive interview with Kennedy on the campaign trail the day before he was assassinated. In that same year, I also covered the infamous Democratic Convention in Chicago, Ill. But nothing compared to the opportunity I was blessed with in observing, fellowshipping with, and being given the opportunity to memorialize the life of migrant workers in an eight-part series, “Migration to Misery.”
In addition to the Pulitzer, I also was awarded the first annual Robert F. Kennedy Memorial Journalism Award for the “Migration to Misery” series. Needless to say, “Migration to Misery” was the apparent highlight of the journalism career of one Dallas Kinney…farm boy from Buckeye, Iowa.
And yet…until after being informed I’d won the Pulitzer, I was unaware I had even been nominated for the prize. As my peers in the Palm Beach Post newsroom celebrated the award, I snuck away to my executive editor’s office, closed the door, and thanked God for what I had just learned. I then broke into a cold sweat with a classic “fear-of-man” reflection: “What do I do to top this?”
Bottom Line: My Pulitzer moment was not a positive, life-changing event. What was life-changing was an encounter I had had with one of my migrant subjects, Lillie Mae Brown. Lillie Mae had been a migrant worker since her youth. When I met Lillie Mae, her body was “broken.” She was living in a 10 by 10 foot shack, with no running water and no electricity. She was all but destitute. In her own words, she was “waiting to die.”
And yet, during our conversations in her humble environment, I discovered this “broken” woman, this classic “victim,” had more than I had ever possessed. Lillie Mae Brown was far richer than I, with all I had thought important: my upscale Palm Beach suburb home, sports car and valuable cameras.
In her humble abode, Lillie Mae talked about God like He was right there with us. And guess what? He was! When Lillie Mae talked about the imminent end of her life, she wept. Yet hers were not tears of sorrow, but tears of joy as she contemplated an eternity with her Lord and Savior Jesus Christ.
It was not the Pulitzer Prize, but Lillie Mae’s conviction, Lillie Mae’s confession of Jesus Christ, that was the defining moment for this journalist.
LM: Recently you've been focusing on nature photography. Tell me about one or two of your favorite locations and why.
DK: I returned to my “Ansel Adams days” with the advent of quality digital. For the past five years, I’ve been working on a series of nature photographs entitled “God has a Great Imagination.” I’ve made pictures for the series in environments that represent much of God’s best work: The Atlantic and Pacific coasts; the grandeur of the Grand Canyon; Burr Trail, Monument Valley, and Bryce Canyon, in southeastern Utah; Appalachia, in all of its mystery and majesty; but I would have to say my favorite place was on the Sol Duc Falls trail in the Olympic Peninsula National Park in Washington State.
The Sol Duc trail winds through a rainforest environment, culminating at a spectacular three-channel waterfall. On the morning of my first encounter with the trail, my wife Martha and daughter Yubiana had walked on ahead, as ever, impatient with my peripatetic picture making choreography – walk ten paces, stop, set up camera and tripod, make pictures, walk ten paces…stop….
As I was making a picture of a pristine stream, dropping through a series of mini-falls in this lush, green rainforest, I stopped looking through the camera’s viewfinder, backed away from the tripod, and said out loud: “Lord if my ‘coming home’ is near, this would be a grand place to ‘launch’ from.” Bottom Line: If I don’t encounter an area comparable to that one on the Sol Duc trail, in paradise, I’ll be surprised.
LM: You’ve already touched on this a little, but I'd like to hear more about how your faith has affected your photography and vice versa?
DK: I find it impossible to look, through the viewfinder of my camera, at person or place without thinking, “What hath God wrought?” Psalm 111:2 says it well: “Great are the works of the LORD; they are pondered by all who delight in them.”
I am doubly blessed. Not only am I privileged to observe, up close and personal, His creation, be it person or place; I also have the use of a tool, the camera, that allows me to isolate and capture that moment, and then share that visual wonder with the world, prayerfully to His glory!
Since my salvation, thanks to the death and resurrection of my Lord and Savior Jesus, the Christ, I don’t think I’ve taken on a communications task, be it making pictures, writing a story, or designing a page for print, without praying, in essence, a paraphrase of Proverbs 16:3: “Commit your actions to the Lord, and your plans will succeed.”
As I said earlier in the interview, I’m blessed-of-men! Thanks be to God!
As a newspaper journalist he has worked for the Washington Evening Journal (Iowa); Dubuque Telegraph Herald (Iowa); Palm Beach Post (Florida); Miami Herald (Florida); and the Philadelphia Inquirer (Penn).
As a photojournalist, Kinney received the following awards: Pulitzer Prize for Photojournalism, Robert F. Kennedy Journalism Award, World Press Association/Photojournalism, and more.
Kinney's photojournalism has been featured in exhibits at the National Geographic Society (Martin Luther King assassination); Pulitzer Prize Photos exhibits in Japan and Korea (current); Traveling Exhibit of Pulitzer Prize Photos to U.S. Universities and Colleges (current), and more.
Kinney has been a featured speaker and lecturer at the National Geographic/University of Missouri Visual Workshop, the Medil School of Journalism, Miami Communications Conference, the World Press Institute, and more. With his wife Martha, Kinney co-authored and presented eight daylong communication and marketing workshops for the international fine art industry in Miami Beach, Los Angeles, New York City and Atlanta.
Kinney preceded his photojournalism career as a student of renowned nature photographer Ansel Adams in Carmel, Calif. He confirms his abiding love for and ongoing desire to create “Adams-like” photographs.
LeAnne: In 1970, you won the Pulitzer Prize for feature photography. How did that experience affect your career and your life?
Dallas: I’ve been blessed-of-men in my journalism career: a writer/photographer for the Washington Evening Journal, Washington, Iowa; Dubuque Telegraph Herald, Dubuque, Iowa; Miami Herald, Miami, Fla.; and the Palm Beach Post, West Palm Beach, Fla.; Director of Graphic Arts at the Philadelphia Inquirer, Philadelphia, Penn.; and Sunday Features Editor, with a return to the Palm Beach Post.
During the turbulent ‘60’s, I covered the assassinations of two influential Americans: Dr. Martin Luther King, Jr. and Robert “Bobby” Kennedy. I was in Memphis the day after Dr. King was assassinated, and I had an exclusive interview with Kennedy on the campaign trail the day before he was assassinated. In that same year, I also covered the infamous Democratic Convention in Chicago, Ill. But nothing compared to the opportunity I was blessed with in observing, fellowshipping with, and being given the opportunity to memorialize the life of migrant workers in an eight-part series, “Migration to Misery.”
In addition to the Pulitzer, I also was awarded the first annual Robert F. Kennedy Memorial Journalism Award for the “Migration to Misery” series. Needless to say, “Migration to Misery” was the apparent highlight of the journalism career of one Dallas Kinney…farm boy from Buckeye, Iowa.
And yet…until after being informed I’d won the Pulitzer, I was unaware I had even been nominated for the prize. As my peers in the Palm Beach Post newsroom celebrated the award, I snuck away to my executive editor’s office, closed the door, and thanked God for what I had just learned. I then broke into a cold sweat with a classic “fear-of-man” reflection: “What do I do to top this?”
Bottom Line: My Pulitzer moment was not a positive, life-changing event. What was life-changing was an encounter I had had with one of my migrant subjects, Lillie Mae Brown. Lillie Mae had been a migrant worker since her youth. When I met Lillie Mae, her body was “broken.” She was living in a 10 by 10 foot shack, with no running water and no electricity. She was all but destitute. In her own words, she was “waiting to die.”
And yet, during our conversations in her humble environment, I discovered this “broken” woman, this classic “victim,” had more than I had ever possessed. Lillie Mae Brown was far richer than I, with all I had thought important: my upscale Palm Beach suburb home, sports car and valuable cameras.
In her humble abode, Lillie Mae talked about God like He was right there with us. And guess what? He was! When Lillie Mae talked about the imminent end of her life, she wept. Yet hers were not tears of sorrow, but tears of joy as she contemplated an eternity with her Lord and Savior Jesus Christ.
It was not the Pulitzer Prize, but Lillie Mae’s conviction, Lillie Mae’s confession of Jesus Christ, that was the defining moment for this journalist.
LM: Recently you've been focusing on nature photography. Tell me about one or two of your favorite locations and why.
DK: I returned to my “Ansel Adams days” with the advent of quality digital. For the past five years, I’ve been working on a series of nature photographs entitled “God has a Great Imagination.” I’ve made pictures for the series in environments that represent much of God’s best work: The Atlantic and Pacific coasts; the grandeur of the Grand Canyon; Burr Trail, Monument Valley, and Bryce Canyon, in southeastern Utah; Appalachia, in all of its mystery and majesty; but I would have to say my favorite place was on the Sol Duc Falls trail in the Olympic Peninsula National Park in Washington State.
The Sol Duc trail winds through a rainforest environment, culminating at a spectacular three-channel waterfall. On the morning of my first encounter with the trail, my wife Martha and daughter Yubiana had walked on ahead, as ever, impatient with my peripatetic picture making choreography – walk ten paces, stop, set up camera and tripod, make pictures, walk ten paces…stop….
As I was making a picture of a pristine stream, dropping through a series of mini-falls in this lush, green rainforest, I stopped looking through the camera’s viewfinder, backed away from the tripod, and said out loud: “Lord if my ‘coming home’ is near, this would be a grand place to ‘launch’ from.” Bottom Line: If I don’t encounter an area comparable to that one on the Sol Duc trail, in paradise, I’ll be surprised.
LM: You’ve already touched on this a little, but I'd like to hear more about how your faith has affected your photography and vice versa?
DK: I find it impossible to look, through the viewfinder of my camera, at person or place without thinking, “What hath God wrought?” Psalm 111:2 says it well: “Great are the works of the LORD; they are pondered by all who delight in them.”
I am doubly blessed. Not only am I privileged to observe, up close and personal, His creation, be it person or place; I also have the use of a tool, the camera, that allows me to isolate and capture that moment, and then share that visual wonder with the world, prayerfully to His glory!
Since my salvation, thanks to the death and resurrection of my Lord and Savior Jesus, the Christ, I don’t think I’ve taken on a communications task, be it making pictures, writing a story, or designing a page for print, without praying, in essence, a paraphrase of Proverbs 16:3: “Commit your actions to the Lord, and your plans will succeed.”
As I said earlier in the interview, I’m blessed-of-men! Thanks be to God!
Monday, March 31, 2008
Dallas Kinney: Pulitzer Prize-Winning Photojournalist
Pulitzer Prize-Winning photojournalist and student of Ansel Adams, Dallas Kinney is a photojournalist, writer, director of graphic arts, and Sunday features editor. He has also worked in computer-based multimedia and television and film production. Kinney's communication skills have been utilized by many of the nation's prominent newspapers and magazines, by major profit and non-profit corporations and by national television networks. As a newspaper journalist he has worked for the Washington Evening Journal (Iowa); Dubuque Telegraph Herald (Iowa); Palm Beach Post (Florida); Miami Herald (Florida); and the Philadelphia Inquirer (Penn).
As a photojournalist, Kinney received the following awards: Pulitzer Prize for Photojournalism, Robert F. Kennedy Journalism Award, World Press Association/Photojournalism, and more.
Kinney's photojournalism has been featured in exhibits at the National Geographic Society (Martin Luther King assassination); Pulitzer Prize Photos exhibits in Japan and Korea (current); Traveling Exhibit of Pulitzer Prize Photos to U.S. Universities and Colleges (current), and more.
Kinney has been a featured speaker and lecturer at the National Geographic/University of Missouri Visual Workshop, the Medil School of Journalism, Miami Communications Conference, the World Press Institute, and more. With his wife Martha, Kinney co-authored and presented eight daylong communication and marketing workshops for the international fine art industry in Miami Beach, Los Angeles, New York City and Atlanta.
Kinney preceded his photojournalism career as a student of renowned nature photographer Ansel Adams in Carmel, Calif. He confirms his abiding love for and ongoing desire to create “Adams-like” photographs.
LeAnne: What draws you to photography?
Dallas: I made my first photograph for money at 28 years of age, so I wouldn’t say I was drawn to photography as a profession, or a passion.
My first love was performing arts. I was a dramatic arts major at the University of Iowa and moved to Chicago and New York City, respectively, to become the next Gene Kelly, of musical comedy fame.
My first experience with photography, beyond the occasional snapshot, was with Maggie Besson, a noted professional photographer in Chicago. Maggie made a series of promotional photographs of me for my first professional gig, “A Night on Broadway, with Dallas Kinney.”
Maggie did a spectacular job. To my abject embarrassment, I didn't have money enough to pay her for her photographic services. Rather than having me roughed up by some of her seamier back alley acquaintances, Maggie graciously allowed me to work off my debt by assisting her in her studio. She taught me how to process film and make prints. She even allowed me to carry her camera case on some of her more notable photographic commissions for the city of Chicago.
I became intrigued by Maggie's profession, but with performing arts still my abiding passion, I moved on to New York City. Providentially, my success in show business was far from being spectacular. Probably the best thing I did in New York City was to buy my first 35mm single lens reflex camera. I soon found myself spending more time making pictures than practicing dance steps or musical scores. Wisely, I gave up my childhood dream and “moved on.” In fact, I literally moved on from New York City to Carmel-by-the-Sea, California.
One day, as I was walking the streets of Carmel, I came upon a gallery that featured photography. I walked inside, and within moments, found myself hyperventilating.
The gallery featured the photography of Ansel Adams, the icon of nature photographers. I had never seen anything quite like this man's work. Sadly, until that moment, I hadn't known that he existed. My ignorance didn't last long: I went to the nearest library and researched everything I could on one Ansel Adams.
I discovered Adams lived in San Francisco, a mere two hours and nine minutes away from where I was standing. With further research I discovered where his home was located. Within one week I sat in my car, in his driveway, planning to make a personal, impassioned appeal for the opportunity to study with him. For the first, and probably the last time in my life, I “chickened out.”
I drove back to Carmel and wrote Ansel a letter begging him to let me study with him. In the letter I enclosed a self-addressed and stamped postcard. On the card I had four declarations, each with the box beside it, one of which he was to check. The statements, relating to my desire to study with Ansel were: "Yes! No! Let's talk about it!; and...Get out of my life, kid!"
The card came back with the "Let's talk about it!” box checked, accompanied by a gracious letter from Ansel informing me he had just moved to Carmel and wanted me to join him and his wife at their new home for cocktails. Needless to say, I accepted.
You asked if I was drawn to photography. With my exposure to Ansel Adams, I wasn't just drawn to photography; I dove in and did exuberant back strokes.
LM: What would you say was the most important lesson, advice or technique that you picked up from Adams?
DK: Adams taught me three major and memorable aspects of nature:
1. Light!
2. Light!; and
3. Light!
Ansel understood and proved – in his pantheistic way – what Genesis 1, verses 3-4, so dramatically declare: “And God said, "Let there be light," and there was light. God saw that the light was good…”
You just don’t make photographs without light, unless you’re doing an esoteric study on “Black Cats in Coal Bins.”
Yesterday morning on my way home in the North Georgia mountains, I came upon a quintessential Appalachian Spring scene: A long lane, bordered by at least 20 trees, resplendent with delicate white blossoms. At night, no picture. At noon, borrrrring. But in that magnificent morning light, filtered through a high haze…it was a scene of glory.
I challenge your readers to search out some of Ansel Adam’s work. View it, with your Bible open to Genesis 1 as a proof-text. Then, try to tell me that “In the beginning God created…” is a fallacy.
Ansel also taught me, up close and personal, what French author Marcel Proust said so well: “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.”
Ansel Adams taught me to…“See!”
I know that statement sounds like I’m making the obvious profound, but to “see,” in the vernacular of an Ansel Adams, takes energy. Demands focus. And can only be accomplished successfully with an attitude of humility.
With gratitude and thanksgiving, I later was allowed to apply all of my Ansel Adams insights as I made a transition from nature photography to a career in photojournalism.
On Thursday, Dallas Kinney will talk about what it was like to win the Pulitzer Prize.
As a photojournalist, Kinney received the following awards: Pulitzer Prize for Photojournalism, Robert F. Kennedy Journalism Award, World Press Association/Photojournalism, and more.
Kinney's photojournalism has been featured in exhibits at the National Geographic Society (Martin Luther King assassination); Pulitzer Prize Photos exhibits in Japan and Korea (current); Traveling Exhibit of Pulitzer Prize Photos to U.S. Universities and Colleges (current), and more.
Kinney has been a featured speaker and lecturer at the National Geographic/University of Missouri Visual Workshop, the Medil School of Journalism, Miami Communications Conference, the World Press Institute, and more. With his wife Martha, Kinney co-authored and presented eight daylong communication and marketing workshops for the international fine art industry in Miami Beach, Los Angeles, New York City and Atlanta.
Kinney preceded his photojournalism career as a student of renowned nature photographer Ansel Adams in Carmel, Calif. He confirms his abiding love for and ongoing desire to create “Adams-like” photographs.
LeAnne: What draws you to photography?
Dallas: I made my first photograph for money at 28 years of age, so I wouldn’t say I was drawn to photography as a profession, or a passion.
My first love was performing arts. I was a dramatic arts major at the University of Iowa and moved to Chicago and New York City, respectively, to become the next Gene Kelly, of musical comedy fame.
My first experience with photography, beyond the occasional snapshot, was with Maggie Besson, a noted professional photographer in Chicago. Maggie made a series of promotional photographs of me for my first professional gig, “A Night on Broadway, with Dallas Kinney.”
Maggie did a spectacular job. To my abject embarrassment, I didn't have money enough to pay her for her photographic services. Rather than having me roughed up by some of her seamier back alley acquaintances, Maggie graciously allowed me to work off my debt by assisting her in her studio. She taught me how to process film and make prints. She even allowed me to carry her camera case on some of her more notable photographic commissions for the city of Chicago.
I became intrigued by Maggie's profession, but with performing arts still my abiding passion, I moved on to New York City. Providentially, my success in show business was far from being spectacular. Probably the best thing I did in New York City was to buy my first 35mm single lens reflex camera. I soon found myself spending more time making pictures than practicing dance steps or musical scores. Wisely, I gave up my childhood dream and “moved on.” In fact, I literally moved on from New York City to Carmel-by-the-Sea, California.
One day, as I was walking the streets of Carmel, I came upon a gallery that featured photography. I walked inside, and within moments, found myself hyperventilating.
The gallery featured the photography of Ansel Adams, the icon of nature photographers. I had never seen anything quite like this man's work. Sadly, until that moment, I hadn't known that he existed. My ignorance didn't last long: I went to the nearest library and researched everything I could on one Ansel Adams.
I discovered Adams lived in San Francisco, a mere two hours and nine minutes away from where I was standing. With further research I discovered where his home was located. Within one week I sat in my car, in his driveway, planning to make a personal, impassioned appeal for the opportunity to study with him. For the first, and probably the last time in my life, I “chickened out.”
I drove back to Carmel and wrote Ansel a letter begging him to let me study with him. In the letter I enclosed a self-addressed and stamped postcard. On the card I had four declarations, each with the box beside it, one of which he was to check. The statements, relating to my desire to study with Ansel were: "Yes! No! Let's talk about it!; and...Get out of my life, kid!"
The card came back with the "Let's talk about it!” box checked, accompanied by a gracious letter from Ansel informing me he had just moved to Carmel and wanted me to join him and his wife at their new home for cocktails. Needless to say, I accepted.
You asked if I was drawn to photography. With my exposure to Ansel Adams, I wasn't just drawn to photography; I dove in and did exuberant back strokes.
LM: What would you say was the most important lesson, advice or technique that you picked up from Adams?
DK: Adams taught me three major and memorable aspects of nature:
1. Light!
2. Light!; and
3. Light!
Ansel understood and proved – in his pantheistic way – what Genesis 1, verses 3-4, so dramatically declare: “And God said, "Let there be light," and there was light. God saw that the light was good…”
You just don’t make photographs without light, unless you’re doing an esoteric study on “Black Cats in Coal Bins.”
Yesterday morning on my way home in the North Georgia mountains, I came upon a quintessential Appalachian Spring scene: A long lane, bordered by at least 20 trees, resplendent with delicate white blossoms. At night, no picture. At noon, borrrrring. But in that magnificent morning light, filtered through a high haze…it was a scene of glory.
I challenge your readers to search out some of Ansel Adam’s work. View it, with your Bible open to Genesis 1 as a proof-text. Then, try to tell me that “In the beginning God created…” is a fallacy.
Ansel also taught me, up close and personal, what French author Marcel Proust said so well: “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.”
Ansel Adams taught me to…“See!”
I know that statement sounds like I’m making the obvious profound, but to “see,” in the vernacular of an Ansel Adams, takes energy. Demands focus. And can only be accomplished successfully with an attitude of humility.
With gratitude and thanksgiving, I later was allowed to apply all of my Ansel Adams insights as I made a transition from nature photography to a career in photojournalism.
On Thursday, Dallas Kinney will talk about what it was like to win the Pulitzer Prize.
Thursday, March 27, 2008
Ted Prescott, Part 2: On Identity
Sculptor Ted Prescott earned his MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art. He has taught at several colleges, including Messiah College where he chaired the Department of Visual and Theatrical Arts, and Gordon College, where he led the Orvieto Program in Italy in spring 2003. He has a long list of exhibitions, commissions, and installations. His work has been included in many collections including the Cincinnati Museum of Art, the Armand Hammer Museum of Art at UCLA, the Vatican Museum of Contemporary Religious Art, and others. His grants and honors include scholarship grants and Distinguished Professorships from Messiah College as well as $25,000 from the Foundation for the Carolinas. He has been quoted or referred to in many books and articles. He edited and wrote the first chapters of A Broken Beauty (Eerdmans) and Like a Prayer: A Jewish and Christian Presence in Contemporary Art (Tryon Center for Visual Art). He has also written chapters for other books and magazine articles. A sought-after speaker, Ted also serves on the advisory board of IMAGE and served as president of Christians in the Visual Arts (CIVA) from 1985-1989.
LeAnne: Many people say that art made by Christians will communicate their faith, either directly or indirectly. In your essay in the book It Was Good: Making Art to the Glory of God, you argue that "not all art by Christians will express or communicate their faith in a discernable way" (p. 323). Can you explain what you mean by that?
TP: In my essay, I argue that it is simplistic to think art made by Christians will inevitably express the Christian faith in some way. It is understandable that people—both artists and audiences—might want this to be the case. And many times art does express the world view of the artist. But I don’t believe that human artifacts and significations are always easily sorted into Christian and non Christian categories. We can’t always tell by looking at an artwork what the beliefs and intentions of an artist are, because there are areas of commonality between Christians and non Christians, and artists use similar means for different ends. For example, two portraits may both be well painted, affirm the dignity of their subjects, and offer insight into the sitter’s character. Apart from being told one painter is a Christian, how would we know? And, other things being relatively equal, does the fact that one artist is a Christian necessarily matter? Cannot the non Christian make work consonant with some aspects of a Christian understanding of reality?
It may be even trickier to discern intentions and viewpoints when the subject matter is Christian. I knew a pastor who had a reproduction of Salvador Dali’s famous Crucifixion of St. John of the Cross done in 1951. It is a compelling, slightly hallucinatory painting, and for the Pastor, an affirmation of Christ’s presence. But I’m not sure one can make the case that Dali’s painting—or his other works with Christian subjects—are the expression of Christian conviction. I want to tread lightly here—Dali’s “real” beliefs are unknown to me. But the whole body of Dali’s work and the statements I’ve read lead me to believe that his use of Christian subjects was not for the purpose of Christian expression. Yet my friend saw in it a confirmation of belief. Perhaps he saw his own beliefs, not Dali’s?
LeAnne: How would you encourage someone who is struggling with his/her identity as an artist and a Christian?
TP: If I understand the question correctly, you are asking how to deal with tensions between two identities—as artist and as Christian. Apart from specific situations, it is difficult to answer. But tensions still do occur from two general predispositions. Christians tend to look for art that fulfills some concept of expressive communication which may be socially useful. And by in large the world of contemporary “advanced” art has neither the inclination nor the critical resources to engage thoughtful work that takes the Christian faith seriously. The friction between these two predispositions creates arthritis in the body of believing artists today.
LM: Is there anything more you'd like to say about Christians in the Arts?
TP: In summary, the answers to this question and to the last question are a) make art; b) read, look, think, and pray; and c) give due respect to good, serious work—regardless of who made it.
LeAnne: Many people say that art made by Christians will communicate their faith, either directly or indirectly. In your essay in the book It Was Good: Making Art to the Glory of God, you argue that "not all art by Christians will express or communicate their faith in a discernable way" (p. 323). Can you explain what you mean by that?
TP: In my essay, I argue that it is simplistic to think art made by Christians will inevitably express the Christian faith in some way. It is understandable that people—both artists and audiences—might want this to be the case. And many times art does express the world view of the artist. But I don’t believe that human artifacts and significations are always easily sorted into Christian and non Christian categories. We can’t always tell by looking at an artwork what the beliefs and intentions of an artist are, because there are areas of commonality between Christians and non Christians, and artists use similar means for different ends. For example, two portraits may both be well painted, affirm the dignity of their subjects, and offer insight into the sitter’s character. Apart from being told one painter is a Christian, how would we know? And, other things being relatively equal, does the fact that one artist is a Christian necessarily matter? Cannot the non Christian make work consonant with some aspects of a Christian understanding of reality?
It may be even trickier to discern intentions and viewpoints when the subject matter is Christian. I knew a pastor who had a reproduction of Salvador Dali’s famous Crucifixion of St. John of the Cross done in 1951. It is a compelling, slightly hallucinatory painting, and for the Pastor, an affirmation of Christ’s presence. But I’m not sure one can make the case that Dali’s painting—or his other works with Christian subjects—are the expression of Christian conviction. I want to tread lightly here—Dali’s “real” beliefs are unknown to me. But the whole body of Dali’s work and the statements I’ve read lead me to believe that his use of Christian subjects was not for the purpose of Christian expression. Yet my friend saw in it a confirmation of belief. Perhaps he saw his own beliefs, not Dali’s?
LeAnne: How would you encourage someone who is struggling with his/her identity as an artist and a Christian?
TP: If I understand the question correctly, you are asking how to deal with tensions between two identities—as artist and as Christian. Apart from specific situations, it is difficult to answer. But tensions still do occur from two general predispositions. Christians tend to look for art that fulfills some concept of expressive communication which may be socially useful. And by in large the world of contemporary “advanced” art has neither the inclination nor the critical resources to engage thoughtful work that takes the Christian faith seriously. The friction between these two predispositions creates arthritis in the body of believing artists today.
LM: Is there anything more you'd like to say about Christians in the Arts?
TP: In summary, the answers to this question and to the last question are a) make art; b) read, look, think, and pray; and c) give due respect to good, serious work—regardless of who made it.
Monday, March 24, 2008
Ted Prescott: On Identity
Sculptor Ted Prescott earned his MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art. He has taught at several colleges, including Messiah College where he chaired the Department of Visual and Theatrical Arts, and Gordon College, where he was visiting artist in the Orvieto Program in Italy in 2003. He has a long list of exhibitions, commissions, and installations. His work has been included in many collections including the Cincinnati Museum of Art, the Armand Hammer Museum of Art at UCLA, the Vatican Museum of Contemporary Religious Art, and others. His grants and honors include scholarship grants and Distinguished Professorships from Messiah College and more. He has been quoted or referred to in many books and articles. He edited and wrote the first chapters of A Broken Beauty (Eerdmans) and Like a Prayer: A Jewish and Christian Presence in Contemporary Art (Tryon Center for Visual Art). He has also written chapters for other books and magazine articles. A sought-after speaker, Ted also serves on the advisory board of IMAGE and served as president of Christians in the Visual Arts (CIVA) from 1985-1989.
LeAnne: What is your background in the arts? What draws you to sculpture?
Ted: I waivered between art, literature, and biology growing up. When I learned that biology required chemistry, that door closed. After one year as an English major, the English faculty suggested I might not be suited to a life of parsing texts. The physicality of the visual arts has always drawn me. We use our bodies making art, and the result is a physical artifact, engaging our senses. The material embodiment found in sculpture is more substantive than in other visual arts and I have a special interest in the role that materials play in sculpture.
LM: In the book It Was Good: Making Art to the Glory of God (Square Halo), you have a thought-provoking essay on identity called “Who Do You Say I Am?” My next few questions will focus on that essay. Why is it dangerous to assume that we can get to know an artist through his or her work?
TP: It is dangerous to assume we can know an artist through their work because the artwork is an incomplete or insufficient revelation. There is a parallel to theology here, because in similar fashion the creation can’t lead us to an accurate understanding of God’s character or purposes. The natural world teaches us much about design, majesty, and power, but it is mysteriously silent about the creator’s attitudes and intentions. It is the revelation of God in Jesus Christ that confirms God’s purposeful love and redemptive suffering. That’s still mysterious, but much more sharply focused than trying to discern the creator’s character from roses and mountains, or aphids and avalanches. Just as in our faith, in art we often “see” evidences of the artist’s character in their work after we’ve been told what to look for.
The belief that art reveals the artist is—historically speaking—a pretty new idea. In our culture it is supported by three factors: the lingering Romantic notion of the expressive artist/genius; the Freudian legacy that animates pop psychology; and a marketplace that promotes personality as a product. I find very little support in either the long historical view of art or in the Biblical record for believing that the artist’s persona is central to understanding the artwork, and that the art work necessarily reveals the artist. It may, but it also may not. Put bluntly, artists can fail to disclose, invent, or lie through art. Why should we think otherwise?
More from Ted Prescott on Thursday.
LeAnne: What is your background in the arts? What draws you to sculpture?
Ted: I waivered between art, literature, and biology growing up. When I learned that biology required chemistry, that door closed. After one year as an English major, the English faculty suggested I might not be suited to a life of parsing texts. The physicality of the visual arts has always drawn me. We use our bodies making art, and the result is a physical artifact, engaging our senses. The material embodiment found in sculpture is more substantive than in other visual arts and I have a special interest in the role that materials play in sculpture.
LM: In the book It Was Good: Making Art to the Glory of God (Square Halo), you have a thought-provoking essay on identity called “Who Do You Say I Am?” My next few questions will focus on that essay. Why is it dangerous to assume that we can get to know an artist through his or her work?
TP: It is dangerous to assume we can know an artist through their work because the artwork is an incomplete or insufficient revelation. There is a parallel to theology here, because in similar fashion the creation can’t lead us to an accurate understanding of God’s character or purposes. The natural world teaches us much about design, majesty, and power, but it is mysteriously silent about the creator’s attitudes and intentions. It is the revelation of God in Jesus Christ that confirms God’s purposeful love and redemptive suffering. That’s still mysterious, but much more sharply focused than trying to discern the creator’s character from roses and mountains, or aphids and avalanches. Just as in our faith, in art we often “see” evidences of the artist’s character in their work after we’ve been told what to look for.
The belief that art reveals the artist is—historically speaking—a pretty new idea. In our culture it is supported by three factors: the lingering Romantic notion of the expressive artist/genius; the Freudian legacy that animates pop psychology; and a marketplace that promotes personality as a product. I find very little support in either the long historical view of art or in the Biblical record for believing that the artist’s persona is central to understanding the artwork, and that the art work necessarily reveals the artist. It may, but it also may not. Put bluntly, artists can fail to disclose, invent, or lie through art. Why should we think otherwise?
More from Ted Prescott on Thursday.
Wednesday, March 19, 2008
Poets of the Past: Through the Eyes of Readers
Throughout the ages, poetry—both the writing and the reading of it—has helped us make sense of the human experience. Poems written by Christians that have stood the test of time often ask difficult questions, exploring the depths of our relationship to a holy but loving God. With beautiful words and images, these poets’ work can still give glory to God and edify and encourage their readers. Here are a few of them through the eyes of readers who admire their work.
John Donne (1572-1631): English poet and preacher who wrote sonnets, love poems, religious poems, songs, sermons, and more.
Crystal Miller, writer and book reviewer: I have a special place in my heart for John Donne who wrote Death Be Not Proud and For Whom the Bell Tolls, Go and Catch a Falling Star, Holy Sonnet XIV and A Hymn to God the Father.
He understood spiritual struggles, and he wrote about them. [When I first studied his work], I didn’t think they were allowed to do that back then—to question and show that they struggled with the battle raging in a man’s heart.
Donne could do puns, could be humorous. So much of his work was picked up into our modern language (like “no man is an island”).
John Milton (1608-1674): English poet best known for his epic poem Paradise Lost.
Bryon Harris, bookstore owner and former English teacher: Paradise Lost is justly celebrated, though falling into the dustbin of literary criticism. But his 23 sonnets live on and boy, are they all great. In #23, blind Milton dreams of his beloved second wife, now passed.
Methought I saw my late espoused Saint
Brought to me like Alcestis from the grave,
Whom Joves great son to her glad Husband gave,
Rescu’d from death by force though pale and faint.
Mine as whom washt from spot of child-bed taint, [ 5 ]
Purification in the old Law did save,
And such, as yet once more I trust to have
Full sight of her in Heaven without restraint,
Came vested all in white, pure as her mind:
Her face was vail’d, yet to my fancied sight, [ 10 ]
Love, sweetness, goodness, in her person shin’d
So clear, as in no face with more delight.
But O as to embrace me she enclin’d,
I wak’d, she fled, and day brought back my night.
William Cowper (pron. Cooper) (1731-1800): popular English poet and hymn writer.
David Bruce Linn, pastor-teacher, radio Bible teacher, and writer: I am moved by William Cowper’s The Task, which is too long to be enjoyed but contains the stunning portion below. Cowper fell cyclically into deep depression which included fears of damnation so he relived the joy of his first salvation experience repeatedly.
I was a stricken deer, that left the herd
Long since: with many an arrow deep infix’d
My panting side was charged, when I withdrew,
To seek a tranquil death in distant shades.
There was I found by One who had himself
Been hurt by the archers. In his side he bore,
And in his hands and feet, the cruel scars.
With gentle force soliciting the darts,
He drew them forth, and heal’d, and bade me live.
Excerpt of an article I wrote that first appeared in The Lookout, December 17, 2006.
Next week, I'll be featuring sculptor Ted Prescott.
John Donne (1572-1631): English poet and preacher who wrote sonnets, love poems, religious poems, songs, sermons, and more.
Crystal Miller, writer and book reviewer: I have a special place in my heart for John Donne who wrote Death Be Not Proud and For Whom the Bell Tolls, Go and Catch a Falling Star, Holy Sonnet XIV and A Hymn to God the Father.
He understood spiritual struggles, and he wrote about them. [When I first studied his work], I didn’t think they were allowed to do that back then—to question and show that they struggled with the battle raging in a man’s heart.
Donne could do puns, could be humorous. So much of his work was picked up into our modern language (like “no man is an island”).
John Milton (1608-1674): English poet best known for his epic poem Paradise Lost.
Bryon Harris, bookstore owner and former English teacher: Paradise Lost is justly celebrated, though falling into the dustbin of literary criticism. But his 23 sonnets live on and boy, are they all great. In #23, blind Milton dreams of his beloved second wife, now passed.
Methought I saw my late espoused Saint
Brought to me like Alcestis from the grave,
Whom Joves great son to her glad Husband gave,
Rescu’d from death by force though pale and faint.
Mine as whom washt from spot of child-bed taint, [ 5 ]
Purification in the old Law did save,
And such, as yet once more I trust to have
Full sight of her in Heaven without restraint,
Came vested all in white, pure as her mind:
Her face was vail’d, yet to my fancied sight, [ 10 ]
Love, sweetness, goodness, in her person shin’d
So clear, as in no face with more delight.
But O as to embrace me she enclin’d,
I wak’d, she fled, and day brought back my night.
William Cowper (pron. Cooper) (1731-1800): popular English poet and hymn writer.
David Bruce Linn, pastor-teacher, radio Bible teacher, and writer: I am moved by William Cowper’s The Task, which is too long to be enjoyed but contains the stunning portion below. Cowper fell cyclically into deep depression which included fears of damnation so he relived the joy of his first salvation experience repeatedly.
I was a stricken deer, that left the herd
Long since: with many an arrow deep infix’d
My panting side was charged, when I withdrew,
To seek a tranquil death in distant shades.
There was I found by One who had himself
Been hurt by the archers. In his side he bore,
And in his hands and feet, the cruel scars.
With gentle force soliciting the darts,
He drew them forth, and heal’d, and bade me live.
Excerpt of an article I wrote that first appeared in The Lookout, December 17, 2006.
Next week, I'll be featuring sculptor Ted Prescott.
Wednesday, March 12, 2008
Edwina Findley, Part 2: Behind the Scenes, Too
I’m posting a little early this time. Here is the conclusion of my interview with Edwina Findley. Edwina began her theatre, dance, and music training at an early age. She went on to graduate with honors from New York University’s Tisch School of the Arts. In addition, she was a soloist in the Gospel Choir, an active member of the Tisch Scholars Program, and president and founder of the NYU Chrisitan Artists Coalition.
Since completing her training at NYU, she has appeared on HBO’s hit The Wire, Law and Order: Trial by Jury, NY-70, Conviction, and One Life to Live. Theatrically, she has performed Off-Broadway and at some of the nation’s finest regional theatres. She enjoys singing and has toured musically throughout the US, Europe, and the Caribbean.
LeAnne: In addition to being an actor, you are also an inspirational speaker. Tell me about Abundant Life Creative Services.
Edwina: Abundant Life Creative Services LLC is an organization of entertainment professionals passionate about helping urban youth and adults maximize their God-given potential. Upon noticing the detrimental impact negative forms of entertainment were having upon the lives of inner-city youth, we knew God had given us a piece of the solution. We’ve presented over one hundred arts-trainings, inspirational workshops, keynotes, and performances all over the country and we’re just getting started! We’re definitely excited about keeping up the momentum and using our voices to make a lasting difference in the lives of others.
LM: How has your faith impacted your work and vice versa?
EF: I’ve noticed that many people feel if you’re a Christian who sings, dances, or acts, your ministry should essentially be your art. For me that’s not really the case. While acting is one of my talents, my primary spiritual gifts are encouragement and discernment. Most of my ministry goes on in the culture and behind the scenes- in greenrooms, dressing rooms, on set, online. I have seen some tremendous things take place behind the scenes that no audience will ever know about. That’s what being a Christian in the Arts means to me.
Since completing her training at NYU, she has appeared on HBO’s hit The Wire, Law and Order: Trial by Jury, NY-70, Conviction, and One Life to Live. Theatrically, she has performed Off-Broadway and at some of the nation’s finest regional theatres. She enjoys singing and has toured musically throughout the US, Europe, and the Caribbean.
LeAnne: In addition to being an actor, you are also an inspirational speaker. Tell me about Abundant Life Creative Services.
Edwina: Abundant Life Creative Services LLC is an organization of entertainment professionals passionate about helping urban youth and adults maximize their God-given potential. Upon noticing the detrimental impact negative forms of entertainment were having upon the lives of inner-city youth, we knew God had given us a piece of the solution. We’ve presented over one hundred arts-trainings, inspirational workshops, keynotes, and performances all over the country and we’re just getting started! We’re definitely excited about keeping up the momentum and using our voices to make a lasting difference in the lives of others.
LM: How has your faith impacted your work and vice versa?
EF: I’ve noticed that many people feel if you’re a Christian who sings, dances, or acts, your ministry should essentially be your art. For me that’s not really the case. While acting is one of my talents, my primary spiritual gifts are encouragement and discernment. Most of my ministry goes on in the culture and behind the scenes- in greenrooms, dressing rooms, on set, online. I have seen some tremendous things take place behind the scenes that no audience will ever know about. That’s what being a Christian in the Arts means to me.
Monday, March 10, 2008
Edwina Findley: “The Arts Remind Me I’m Alive!”
Edwina Findley began her theatre, dance, and music training at an early age. She went on to graduate with honors from New York University’s Tisch School of the Arts. In addition, she was a soloist in the Gospel Choir, an active member of the Tisch Scholars Program, and president and founder of the NYU Chrisitan Artists Coalition.
Since completing her training at NYU, she has appeared on HBO’s hit The Wire, Law and Order: Trial by Jury, NY-70, Conviction, and One Life to Live. In addition, she has performed Off-Broadway and at some of the nation’s finest regional theatres. She enjoys singing and has toured musically throughout the US, Europe, and the Caribbean.
Edwina also developed Abundant Life Creative Services, which seeks to inspire, equip, and empower people of all ages to maximize their God-given potential through motivational and artists workshops, inspirational materials, dynamic performances, and individual consultations.
LeAnne: What is your background in acting? What draws you to acting?
Edwina: I’ve been acting since age three. I started by reciting chapters from the Psalms at church, then by age five did my first musical- Psalty’s Christmas Calamity. What fun! My mom kept me in performing arts programs, ministries, and schools, until finally attending NYU’s Tisch School of the Arts for Acting.
I’ve always loved the arts because they give people the ability to express themselves viscerally and creatively. There’s something so compelling about a moving aria or heartfelt dance or hilarious monologue. It’s like unbridled feeling and emotion. The arts remind me that I’m alive!
LM: Which character have you portrayed that has been most challenging?
EF: My most challenging role to date was in an Off-Broadway play called UGLy. I played Alice Marie, a 22-year-old woman with an eight-year-old son and a baby on the way. She had suffered domestic abuse for nine years and was ultimately killed by her boyfriend and father of her children. It was actually the true story of the playwright’s sister who had been murdered only one year prior to the play’s opening. You can imagine how challenging an experience this was for me.
LM: You have acted in TV shows and pilots. What have your characters been like? What have you learned from them?
EF: Believe it or not, since playing a female gangster on HBO’s drama The Wire, most of my subsequent television roles have been from the wrong side of the tracks—on parole, substance abusers, criminals, etc. It’s become a running joke with me and my friends, because my real personality and lifestyle couldn’t be anything further! Surprisingly, stepping into the lives of these characters has allowed me to see their experiences through a different lens. I’ve become a lot less judgmental and much more compassionate. Now when I have the privilege of ministering to people in similar situations, I feel like I can relate to what they’re dealing with and going through.
Since completing her training at NYU, she has appeared on HBO’s hit The Wire, Law and Order: Trial by Jury, NY-70, Conviction, and One Life to Live. In addition, she has performed Off-Broadway and at some of the nation’s finest regional theatres. She enjoys singing and has toured musically throughout the US, Europe, and the Caribbean.
Edwina also developed Abundant Life Creative Services, which seeks to inspire, equip, and empower people of all ages to maximize their God-given potential through motivational and artists workshops, inspirational materials, dynamic performances, and individual consultations.
LeAnne: What is your background in acting? What draws you to acting?
Edwina: I’ve been acting since age three. I started by reciting chapters from the Psalms at church, then by age five did my first musical- Psalty’s Christmas Calamity. What fun! My mom kept me in performing arts programs, ministries, and schools, until finally attending NYU’s Tisch School of the Arts for Acting.
I’ve always loved the arts because they give people the ability to express themselves viscerally and creatively. There’s something so compelling about a moving aria or heartfelt dance or hilarious monologue. It’s like unbridled feeling and emotion. The arts remind me that I’m alive!
LM: Which character have you portrayed that has been most challenging?
EF: My most challenging role to date was in an Off-Broadway play called UGLy. I played Alice Marie, a 22-year-old woman with an eight-year-old son and a baby on the way. She had suffered domestic abuse for nine years and was ultimately killed by her boyfriend and father of her children. It was actually the true story of the playwright’s sister who had been murdered only one year prior to the play’s opening. You can imagine how challenging an experience this was for me.
LM: You have acted in TV shows and pilots. What have your characters been like? What have you learned from them?
EF: Believe it or not, since playing a female gangster on HBO’s drama The Wire, most of my subsequent television roles have been from the wrong side of the tracks—on parole, substance abusers, criminals, etc. It’s become a running joke with me and my friends, because my real personality and lifestyle couldn’t be anything further! Surprisingly, stepping into the lives of these characters has allowed me to see their experiences through a different lens. I’ve become a lot less judgmental and much more compassionate. Now when I have the privilege of ministering to people in similar situations, I feel like I can relate to what they’re dealing with and going through.
Thursday, March 06, 2008
Barry Morrow, Part 2: Excellence in Our Work
Today I'm concluding my interview with Barry Morrow. Barry brings over twenty years of experience in working in the marketplace with businessmen through teaching, consulting, and counseling. He has served on the staff of Reflection’s Ministries for the past eight years, and spent the previous fifteen years in pastoral ministry in a nondenominational church in suburban Atlanta. Reflections Ministries is a non-profit organization that focuses on men in the workplace, encouraging and equipping them to lead productive and fulfilling lives.
Barry’s first book, Heaven Observed: Glimpses of Transcendence in Everyday Life, was published by NavPress in 2001. The book examines our desire and quest for meaning and happiness in this life, and examines the various avenues through which we attempt to find such fulfillment, such as our work and leisure. Occasionally Barry can be found exploring the haunts of C.S. Lewis and his Inklings companions when he can make his way to England.
LeAnne: How would Lewis encourage artists who are Christians?
Barry: Several things come to mind. First, the artist should be serious about becoming the very best he or she can be in that arena of artistic expression, whether it be painting, photography, writing, film-making, etc. The excellence of our work should be foremost in our thinking.
In one of my favorite essays of Lewis, “Good Work and Good Works,” he distinguishes between “Good works” that are generally considered and called as much in religious contexts, versus “good work,” which is generally referred to as one’s vocational “work.”
On this issue, Lewis writes: “And good works need not be good work, as anyone can see by inspecting some of the objects made to be sold at bazaars for charitable purposes. This is not according to our example. When our Lord provided a poor wedding party with an extra glass of wine all round, he was doing good works. But also good work; it was a wine really worth drinking….” The way he closes this essay is quite appropriate to a lot of “good works” done in the name of Christianity: “’Great Works’ (of art) and ‘good works’ (of charity) had better also be Good Work. Let choirs sing well or not at all.”
Wasn’t it Dorothy Sayers who said, “The only Christian work is a work well done”? A lot of churches and ministries ought to give Sayers’ and Lewis’ words some serious thought.
Second, I think Lewis would warn the artist about the subtlety of pride. As he cautions us in Mere Christianity, pride is the Great Sin, the supreme vice, and while the “sins of the flesh” are bad, they are the “least bad,” he says, of all sins: “That is why a cold, self-righteous prig who goes regularly to church may be far nearer to hell than a prostitute. But, of course, it is better to be neither.” That’s vintage Lewis, and pride can become a stumbling block for the artist who comes to think more highly of himself, and his work, than he should.
I love that scene in The Great Divorce, Lewis’ theological fantasy about a busload of people who are taken to Heaven, and who can stay as long as they wish (ironically, but not to be missed, only one person decides to stay, as they all wish to get back to their dismal life in Hell…). One of the many vignettes of people who arrive in Heaven is the man who had been the “famous artist” on earth. As he is anxious to start painting upon his arrival in the Bright City, one of the bright spirits warns him:
“Ink and catgut and paint were necessary down there, but they are also dangerous stimulants. Every poet and musician and artist, but for Grace, is drawn away from love of the thing he tells, to love of the telling till, down in Deep Hell, they cannot be interested in God at all but only in what they say about Him. For it doesn’t stop at being interested in paint, you know. They sink lower—become interested in their own personalities and then in nothing but their own reputations.”
When the ghost who had been the famous artist inquired about “interesting people he might meet, distinguished people,” he is met with an interesting response: “”But they aren’t distinguished—no more than anyone else. Don’t you understand?...They are all famous. They are all known, remembered, recognized by the only Mind that can give a perfect judgment…”
LM: Do you think Christians who are not artists should support those who are? Why?
BM: If you mean by support, “financially,” I would say perhaps so, but not necessarily so. I go back to my earlier comment in question one, that, to borrow from Lewis, “Christian” is a noun, and not an adjective. So if the question is whether I as a “Christian” should support those artists “who are Christians,” a number of questions arise.
If I like the work and believe it to be a “Good Work” (see my discussion about this from Monday’s interview), I may consider purchasing an artist’s work (painting, photograph, novel, etc.), but I don’t believe there is a biblical warrant for me to “support” those who are Christians simply because they are Christians. Malcolm Muggeridge once observed, “Either all of life of sacred, or none of it is sacred.” If all of life is sacred, then I need not compartmentalize between the secular and sacred, because it in fact doesn’t exist.
In an interview conducted by Sherwood Wirt in 1963, Lewis was asked if he believed that the Holy Spirit can speak to the world through Christian writers today. His response, in part, relates I think to this question:
“I prefer to make no judgment concerning a writer’s direct ‘illumination’ by the Holy Spirit…God is not interested only in Christian writers as such. He is concerned with all kinds of writing. In the same way a sacred calling is not limited to ecclesiastical functions. The man who is weeding a field of turnips is also serving God.”
Barry’s first book, Heaven Observed: Glimpses of Transcendence in Everyday Life, was published by NavPress in 2001. The book examines our desire and quest for meaning and happiness in this life, and examines the various avenues through which we attempt to find such fulfillment, such as our work and leisure. Occasionally Barry can be found exploring the haunts of C.S. Lewis and his Inklings companions when he can make his way to England.
LeAnne: How would Lewis encourage artists who are Christians?
Barry: Several things come to mind. First, the artist should be serious about becoming the very best he or she can be in that arena of artistic expression, whether it be painting, photography, writing, film-making, etc. The excellence of our work should be foremost in our thinking.
In one of my favorite essays of Lewis, “Good Work and Good Works,” he distinguishes between “Good works” that are generally considered and called as much in religious contexts, versus “good work,” which is generally referred to as one’s vocational “work.”
On this issue, Lewis writes: “And good works need not be good work, as anyone can see by inspecting some of the objects made to be sold at bazaars for charitable purposes. This is not according to our example. When our Lord provided a poor wedding party with an extra glass of wine all round, he was doing good works. But also good work; it was a wine really worth drinking….” The way he closes this essay is quite appropriate to a lot of “good works” done in the name of Christianity: “’Great Works’ (of art) and ‘good works’ (of charity) had better also be Good Work. Let choirs sing well or not at all.”
Wasn’t it Dorothy Sayers who said, “The only Christian work is a work well done”? A lot of churches and ministries ought to give Sayers’ and Lewis’ words some serious thought.
Second, I think Lewis would warn the artist about the subtlety of pride. As he cautions us in Mere Christianity, pride is the Great Sin, the supreme vice, and while the “sins of the flesh” are bad, they are the “least bad,” he says, of all sins: “That is why a cold, self-righteous prig who goes regularly to church may be far nearer to hell than a prostitute. But, of course, it is better to be neither.” That’s vintage Lewis, and pride can become a stumbling block for the artist who comes to think more highly of himself, and his work, than he should.
I love that scene in The Great Divorce, Lewis’ theological fantasy about a busload of people who are taken to Heaven, and who can stay as long as they wish (ironically, but not to be missed, only one person decides to stay, as they all wish to get back to their dismal life in Hell…). One of the many vignettes of people who arrive in Heaven is the man who had been the “famous artist” on earth. As he is anxious to start painting upon his arrival in the Bright City, one of the bright spirits warns him:
“Ink and catgut and paint were necessary down there, but they are also dangerous stimulants. Every poet and musician and artist, but for Grace, is drawn away from love of the thing he tells, to love of the telling till, down in Deep Hell, they cannot be interested in God at all but only in what they say about Him. For it doesn’t stop at being interested in paint, you know. They sink lower—become interested in their own personalities and then in nothing but their own reputations.”
When the ghost who had been the famous artist inquired about “interesting people he might meet, distinguished people,” he is met with an interesting response: “”But they aren’t distinguished—no more than anyone else. Don’t you understand?...They are all famous. They are all known, remembered, recognized by the only Mind that can give a perfect judgment…”
LM: Do you think Christians who are not artists should support those who are? Why?
BM: If you mean by support, “financially,” I would say perhaps so, but not necessarily so. I go back to my earlier comment in question one, that, to borrow from Lewis, “Christian” is a noun, and not an adjective. So if the question is whether I as a “Christian” should support those artists “who are Christians,” a number of questions arise.
If I like the work and believe it to be a “Good Work” (see my discussion about this from Monday’s interview), I may consider purchasing an artist’s work (painting, photograph, novel, etc.), but I don’t believe there is a biblical warrant for me to “support” those who are Christians simply because they are Christians. Malcolm Muggeridge once observed, “Either all of life of sacred, or none of it is sacred.” If all of life is sacred, then I need not compartmentalize between the secular and sacred, because it in fact doesn’t exist.
In an interview conducted by Sherwood Wirt in 1963, Lewis was asked if he believed that the Holy Spirit can speak to the world through Christian writers today. His response, in part, relates I think to this question:
“I prefer to make no judgment concerning a writer’s direct ‘illumination’ by the Holy Spirit…God is not interested only in Christian writers as such. He is concerned with all kinds of writing. In the same way a sacred calling is not limited to ecclesiastical functions. The man who is weeding a field of turnips is also serving God.”
Monday, March 03, 2008
Barry Morrow: Art & the Extraordinary Goodness of God
Barry Morrow brings over twenty years of experience in working in the marketplace with businessmen through teaching, consulting, and counseling. He has served on the staff of Reflection’s Ministries for the past eight years, and spent the previous fifteen years in pastoral ministry in a nondenominational church in suburban Atlanta. Reflections Ministries is a non-profit organization that focuses on men in the workplace, encouraging and equipping them to lead productive and fulfilling lives.
Barry’s first book, Heaven Observed: Glimpses of Transcendence in Everyday Life, was published by NavPress in 2001. The book examines our desire and quest for meaning and happiness in this life, and examines the various avenues through which we attempt to find such fulfillment, such as our work and leisure. Occasionally Barry can be found exploring the haunts of C.S. Lewis and his Inklings companions when he can make his way to England.
LeAnne: You're a C. S. Lewis expert. What would Lewis say about the tendency of today's Christians to pull away from the culture into the safety of our own subculture?
Barry: I’m not so sure about being a “Lewis expert,” as you say, but unquestionably, he has greatly impacted my worldview and thinking on many subjects, including the Christian faith. I’m not sure what Lewis would make about this tendency of Christians to pull away from culture at large, other than that it is dreadful state of affairs.
In many ways, it is a form of Gnosticism, a philosophy the early church faced, a system of thought which gave preeminence to the “spiritual” over the “physical,” creating a dualism that is entirely unbiblical, and also denies the Incarnation—God becoming flesh (John 1). But there seems to have always been this tendency for Christians to either become assimilated into the prevailing culture or for them to develop their own subculture.
Lewis’ early comments in the Preface to Mere Christianity, where he defines what the term “Christian” means, is instructive as to the disastrous effects of withdrawing from the world. While the word “Christian” means “one who accepts the common doctrines of Christianity,” more often than not it has become reduced to an adjective, instead of a noun. He points out that while the word “gentleman” has faced a similar fate, as it originally meant one who had a coat of arms and some landed property (stating a fact about him), now it has been reduced to paying someone a compliment if we call him a “gentleman.” In an earlier time, there was no contradiction in saying John was a liar and a gentleman, Lewis says. His point is that “gentleman” has now become a useless word, and the same could be said of the way people use the term “Christian” in an adjectival sense rather than using it as it should be used, as a noun. Walker Percy once mused that the word “love” no longer has meaning in our culture, and I think the same is true of the word “Christian.” It has become nonsensical, void of any true meaning. Today, we have “Christian” yellow pages, ”Christian” bookstores, “Christian” conferences, “Christian” music, etc. And sad to say, the Christian label is often synonymous with mediocrity. It is symptomatic of our retreat from the world.
LM: How can Christians be in the culture but not of it?
BM: There is no easy answer to this question. The apostle Paul clearly had issues with Christians in the first century, particularly Corinth, in this regard. They thought they were to avoid all “immoral people” and misunderstood his comments to be about all people (1 Corinthians 5).Yet he reminds them that to avoid all immoral people, they would literally have to leave the world, and that he was actually referring to people leading immoral lives who called themselves Christians.
I’ve often used the phrase that we are to be “socially linked” or engaged, but “spiritually distinct” from this temporal age, which, as Paul reminds us, is passing away (1 Corinthians 7). And I think our Lord gives us the supreme example, as we see in the Gospels, of how He lived out His life in this fashion. The passage in Matthew 5 of Levi’s call to discipleship comes to mind. Immediately after his decision to follow Jesus, he throws a banquet at his home for all his friends (great sinners, them all, for who else would befriend a tax-collector?), and guess who’s there? Jesus and His disciples. How many pastors today, or for that matter Christians, would show up at that kind of party? Most Christians are too busy with their “religious” affairs to cultivate relationships with those who are not Christians.
But there is also the need for fellowship, sound teaching from the Scriptures, and support from other Christians, the body of Christ, lest we become assimilated into the culture. If we are truly seeking to live the Christian life, it is always going to be lived in tension, isn’t it? To live between that which is temporal (chronos), and that which is eternal (kairos)? To remember, as Tony Campolo says in his great sermon, “It’s Friday, but Sunday’s coming!!”
LM: Why do we need art and artists?
BM: “Need” art and artists? If this were a purely utilitarian world, a mechanized universe where matter is all that has ever existed (the atheistic position), then we as humans would not need, not expect, art or artists. Art shows us, I think, the variegated Goodness of our Heavenly Father, who as James describes the situation, “Every good thing bestowed and every perfect gift is from above, coming down from the Father of all lights” (James 1:17). So I see art as part of the extraordinary goodness of God in our lives.
But on the human level, I would suggest that art, if it is well done and true to Reality, shows us what it means to truly be human. The great writers of the world, such as Tolstoy, Dostoevsky, Dickens, and others, portray the human condition as it truly is, as humanity in need of redemption. This was one of the primary reasons that led Malcolm Muggeridge to belief late in life, as he came to see the Christian faith for what it truly is, a “sacred drama” in which we are each playing out our parts before an audience of One.
I remember the playwright Arthur Miller was once asked how he recognized a great script when he saw it. He said that after he read it, he would always come away saying, “My God, that’s me!”
More from Barry Morrow on Thursday.
Barry’s first book, Heaven Observed: Glimpses of Transcendence in Everyday Life, was published by NavPress in 2001. The book examines our desire and quest for meaning and happiness in this life, and examines the various avenues through which we attempt to find such fulfillment, such as our work and leisure. Occasionally Barry can be found exploring the haunts of C.S. Lewis and his Inklings companions when he can make his way to England.
LeAnne: You're a C. S. Lewis expert. What would Lewis say about the tendency of today's Christians to pull away from the culture into the safety of our own subculture?
Barry: I’m not so sure about being a “Lewis expert,” as you say, but unquestionably, he has greatly impacted my worldview and thinking on many subjects, including the Christian faith. I’m not sure what Lewis would make about this tendency of Christians to pull away from culture at large, other than that it is dreadful state of affairs.
In many ways, it is a form of Gnosticism, a philosophy the early church faced, a system of thought which gave preeminence to the “spiritual” over the “physical,” creating a dualism that is entirely unbiblical, and also denies the Incarnation—God becoming flesh (John 1). But there seems to have always been this tendency for Christians to either become assimilated into the prevailing culture or for them to develop their own subculture.
Lewis’ early comments in the Preface to Mere Christianity, where he defines what the term “Christian” means, is instructive as to the disastrous effects of withdrawing from the world. While the word “Christian” means “one who accepts the common doctrines of Christianity,” more often than not it has become reduced to an adjective, instead of a noun. He points out that while the word “gentleman” has faced a similar fate, as it originally meant one who had a coat of arms and some landed property (stating a fact about him), now it has been reduced to paying someone a compliment if we call him a “gentleman.” In an earlier time, there was no contradiction in saying John was a liar and a gentleman, Lewis says. His point is that “gentleman” has now become a useless word, and the same could be said of the way people use the term “Christian” in an adjectival sense rather than using it as it should be used, as a noun. Walker Percy once mused that the word “love” no longer has meaning in our culture, and I think the same is true of the word “Christian.” It has become nonsensical, void of any true meaning. Today, we have “Christian” yellow pages, ”Christian” bookstores, “Christian” conferences, “Christian” music, etc. And sad to say, the Christian label is often synonymous with mediocrity. It is symptomatic of our retreat from the world.
LM: How can Christians be in the culture but not of it?
BM: There is no easy answer to this question. The apostle Paul clearly had issues with Christians in the first century, particularly Corinth, in this regard. They thought they were to avoid all “immoral people” and misunderstood his comments to be about all people (1 Corinthians 5).Yet he reminds them that to avoid all immoral people, they would literally have to leave the world, and that he was actually referring to people leading immoral lives who called themselves Christians.
I’ve often used the phrase that we are to be “socially linked” or engaged, but “spiritually distinct” from this temporal age, which, as Paul reminds us, is passing away (1 Corinthians 7). And I think our Lord gives us the supreme example, as we see in the Gospels, of how He lived out His life in this fashion. The passage in Matthew 5 of Levi’s call to discipleship comes to mind. Immediately after his decision to follow Jesus, he throws a banquet at his home for all his friends (great sinners, them all, for who else would befriend a tax-collector?), and guess who’s there? Jesus and His disciples. How many pastors today, or for that matter Christians, would show up at that kind of party? Most Christians are too busy with their “religious” affairs to cultivate relationships with those who are not Christians.
But there is also the need for fellowship, sound teaching from the Scriptures, and support from other Christians, the body of Christ, lest we become assimilated into the culture. If we are truly seeking to live the Christian life, it is always going to be lived in tension, isn’t it? To live between that which is temporal (chronos), and that which is eternal (kairos)? To remember, as Tony Campolo says in his great sermon, “It’s Friday, but Sunday’s coming!!”
LM: Why do we need art and artists?
BM: “Need” art and artists? If this were a purely utilitarian world, a mechanized universe where matter is all that has ever existed (the atheistic position), then we as humans would not need, not expect, art or artists. Art shows us, I think, the variegated Goodness of our Heavenly Father, who as James describes the situation, “Every good thing bestowed and every perfect gift is from above, coming down from the Father of all lights” (James 1:17). So I see art as part of the extraordinary goodness of God in our lives.
But on the human level, I would suggest that art, if it is well done and true to Reality, shows us what it means to truly be human. The great writers of the world, such as Tolstoy, Dostoevsky, Dickens, and others, portray the human condition as it truly is, as humanity in need of redemption. This was one of the primary reasons that led Malcolm Muggeridge to belief late in life, as he came to see the Christian faith for what it truly is, a “sacred drama” in which we are each playing out our parts before an audience of One.
I remember the playwright Arthur Miller was once asked how he recognized a great script when he saw it. He said that after he read it, he would always come away saying, “My God, that’s me!”
More from Barry Morrow on Thursday.
Thursday, February 28, 2008
“Your Own Astonishment”: Quotations for Artists in Any Field
"There is something you find interesting, for a reason hard to explain. It is hard to explain because you have never read it on any page; there you begin. You were made and set here to give voice to this, your own astonishment." Annie Dillard
Art does not reproduce the visible; rather it makes it visible.” Paul Klee
If you ask me what I came to do in this world, I, an artist, I will tell you: ‘I am here to live out loud.’” Emile Zola
“Art is a human activity, consisting in this, that one man consciously, by means of external signs, hands on to others feelings he has worked through, and other people are infected by these feelings and also experience them.” Leo Tolstoy
Coming soon: more great interviews with artists and experts!
Art does not reproduce the visible; rather it makes it visible.” Paul Klee
If you ask me what I came to do in this world, I, an artist, I will tell you: ‘I am here to live out loud.’” Emile Zola
“Art is a human activity, consisting in this, that one man consciously, by means of external signs, hands on to others feelings he has worked through, and other people are infected by these feelings and also experience them.” Leo Tolstoy
Coming soon: more great interviews with artists and experts!
Monday, February 25, 2008
Dana Gioia’s Speech at Stanford University
You may have already seen it, but it’s worth revisiting: last year’s commencement speech at Stanford University given by Dana Gioia , chairman of the National Endowment for the Arts and an internationally acclaimed and award-winning poet. The Wall Street Journal ran a condensed version of the speech in an article called “The Impoverishment of American Culture And the need for better art education.” Read it and let me know what you think.
Speaking of American culture, I’ll soon be featuring a culture expert, sculptors, actors, and more.
Speaking of American culture, I’ll soon be featuring a culture expert, sculptors, actors, and more.
Thursday, February 21, 2008
Luann Jennings, Part 2: The Arts Ministry at Redeemer Presbyterian Church
Luann Purcell Jennings is an arts administrator, theater director, and acting teacher. Originally from Atlanta, GA, she worked with several theater companies there, and founded a theater company for children and families, before moving to New York City in 2002 to pursue additional studies in theater and to work at Redeemer Presbyterian Church. She now heads Redeemer's Arts Ministry and has recently resumed directing and teaching.
LM: What are some ways Redeemer’s Arts Ministry serves artists?
LJ: Of course our primary concern is for the artists' spiritual lives, so discipleship and community are significant values for us. Our two main programs in these areas are our monthly InterArts Fellowship (IAF) and our Vocation Groups. IAF meets on the second Friday of every month and is for anyone involved in the fine or performing arts, design, entertainment, or media. Each gathering consists of a speaker or artist presentation and plenty of time for fellowship and networking with other artists. We also have Vocation Groups for Actors, Dancers, and Filmmakers. Each of these groups holds several events per year of special interest to people in their industry. These have included panel discussions, prayer and worship events, speaker events, social nights, etc.
We collaborate with other ministries in Redeemer on several projects. Four Fellowship Groups for artists and three Fellowship Groups for musicians meet weekly. Through our adult education programs, we offered a class on “Christianity and the Arts” last spring, which will be offered again soon along with a new class on film. In January, we launched arts classes for children in conjunction with our Family and Children's Ministries.
Our newest program is called the Greenhouse, and its mission is to cultivate the creation of new works of art from a Christian worldview and to build an audience for them. The name came from a talk Tim gave awhile back, in which he described the work of cultural renewal as a "re-Edening" of God's creation --that our goal in cultural renewal should be to make the world around us look more like the garden God intended it to be. Revelation talks about the New Jerusalem as a Garden City -- what a great thing for NYC to aspire to! And where does a garden start? In a greenhouse.
There are huge implications (and opportunities) for cultural renewal in the arts, design, media, and entertainment. At this point we're still working through how "cultivating new works of art" will work best -- there are lots of possible ways to do that. We have hosted several art exhibitions, just launched a literary magazine and will soon see the debut performance of a new dance project. And we’re thinking through additional ways to support artists and their creative processes.
But we're concentrating most of our Greenhouse efforts right now on building awareness and appreciation for the arts within our congregation -- the "building an audience" part. We're planning a month-long arts emphasis -- "April is Arts Month" -- in which we'll have a number of educational programs, field trips, performances, etc., to get our congregation thinking more deeply about the arts and God's kingdom.
LM: You offer artists so many opportunities for growth and encouragement. How are your efforts being received?
LJ: One of our artists recently gave a testimony in a worship service, and she talked about how much she had benefited from getting involved in several of our programs. Being in community with other artists who were having similar questions and struggles was very encouraging to her at a time in which she was questioning her calling to her creative field. And being involved in conversations about how faith intersects with creative work gave her a fresh way of looking at what she does. We hear these kinds of stories pretty regularly, so God is definitely working through the ministry. The community is the key -- we artists are people who like to tell our stories and hear each others' stories, and, as Jesus knew, we learn and heal a lot through stories.
Coming soon: interviews with more artists along with a culture expert
LM: What are some ways Redeemer’s Arts Ministry serves artists?
LJ: Of course our primary concern is for the artists' spiritual lives, so discipleship and community are significant values for us. Our two main programs in these areas are our monthly InterArts Fellowship (IAF) and our Vocation Groups. IAF meets on the second Friday of every month and is for anyone involved in the fine or performing arts, design, entertainment, or media. Each gathering consists of a speaker or artist presentation and plenty of time for fellowship and networking with other artists. We also have Vocation Groups for Actors, Dancers, and Filmmakers. Each of these groups holds several events per year of special interest to people in their industry. These have included panel discussions, prayer and worship events, speaker events, social nights, etc.
We collaborate with other ministries in Redeemer on several projects. Four Fellowship Groups for artists and three Fellowship Groups for musicians meet weekly. Through our adult education programs, we offered a class on “Christianity and the Arts” last spring, which will be offered again soon along with a new class on film. In January, we launched arts classes for children in conjunction with our Family and Children's Ministries.
Our newest program is called the Greenhouse, and its mission is to cultivate the creation of new works of art from a Christian worldview and to build an audience for them. The name came from a talk Tim gave awhile back, in which he described the work of cultural renewal as a "re-Edening" of God's creation --that our goal in cultural renewal should be to make the world around us look more like the garden God intended it to be. Revelation talks about the New Jerusalem as a Garden City -- what a great thing for NYC to aspire to! And where does a garden start? In a greenhouse.
There are huge implications (and opportunities) for cultural renewal in the arts, design, media, and entertainment. At this point we're still working through how "cultivating new works of art" will work best -- there are lots of possible ways to do that. We have hosted several art exhibitions, just launched a literary magazine and will soon see the debut performance of a new dance project. And we’re thinking through additional ways to support artists and their creative processes.
But we're concentrating most of our Greenhouse efforts right now on building awareness and appreciation for the arts within our congregation -- the "building an audience" part. We're planning a month-long arts emphasis -- "April is Arts Month" -- in which we'll have a number of educational programs, field trips, performances, etc., to get our congregation thinking more deeply about the arts and God's kingdom.
LM: You offer artists so many opportunities for growth and encouragement. How are your efforts being received?
LJ: One of our artists recently gave a testimony in a worship service, and she talked about how much she had benefited from getting involved in several of our programs. Being in community with other artists who were having similar questions and struggles was very encouraging to her at a time in which she was questioning her calling to her creative field. And being involved in conversations about how faith intersects with creative work gave her a fresh way of looking at what she does. We hear these kinds of stories pretty regularly, so God is definitely working through the ministry. The community is the key -- we artists are people who like to tell our stories and hear each others' stories, and, as Jesus knew, we learn and heal a lot through stories.
Coming soon: interviews with more artists along with a culture expert
Monday, February 18, 2008
Luann Jennings: The Arts Ministry at Redeemer Presbyterian Church
Last week, I quoted from the Rev. Tim Keller’s essay in It Was Good. This week, I’m talking to the director of the Arts Ministry at the church he founded, Redeemer Presbyterian Church in New York.
Luann Purcell Jennings is an arts administrator, theater director, and acting teacher. Originally from Atlanta, GA, she worked with several theater companies there, and founded a theater company for children and families, before moving to New York City in 2002 to pursue additional studies in theater and to work at Redeemer Presbyterian Church. She now heads Redeemer's Arts Ministry and has recently resumed directing and teaching. For more information on the Arts Ministry, check out the website.
LeAnne: Why does Redeemer Presbyterian Church feel it's important to reach out to artists?
Luann: Largely it grew up practically. Of our weekly attendance of 5,000, some have estimated that up to 1/4 of those folks are involved in the arts, entertainment, media, fashion, etc., full-time or in addition to other paying work. NYC can be a tough place to live -- it's very competitive in these fields, and most of them don't pay well (except at the top tier, which everyone is scrambling to get to, and that’s why they came to NYC in the first place). Add in questions and confusion about how our Christian faith should intersect with our creative work within this context and you have a ministry area that's ripe to be developed.
Also, Redeemer has a strong commitment to cultural renewal through the arts. Our greatest asset and resource is our senior pastor, Tim Keller, who really gets how much influence the arts and artists have on the thinking and choices of the culture around us. Tim stays very current on the arts and talks (from the pulpit and otherwise) about artists as important members of our community and the culture at large. This makes the artists in our congregation feel valued and understood, an experience they may not have had before in church. Besides just the nature of being located in NYC, that's the biggest reason we have so many artists at Redeemer.
LM: How did the Arts Ministry come to be? How did you get involved in it?
LJ: The seeds have been there since the beginning of Redeemer nearly 20 years ago, through Tim and the philosophy and ministry of the Worship & Music department. But it was in 2004 that the Arts Ministry was officially created as a unit within Redeemer's Center for Faith & Work(CFW), a department that was started in 2003 to help people in all industries to integrate their faith with their work and their work with their faith
I was working in the Worship & Music department at the time. My background is in theater, and I had begun a project through the department with other theater professionals, which has since developed into an independent non-profit theater company, Threads Productions. Worship & Music was also hosting a worship dance project, and CFW was interested in hosting programs for artists, too, and had started a Writer's Group. So between Worship & Music and CFW there were several programs available for artists, but we (the directors of Worship & Music and CFW, and I) felt that there was still a great need that was going unmet. So the Arts Ministry was created in the CFW and I stepped into the leadership role in September 2004. Worship & Music still hosts programs for musicians, and the Arts Ministry houses programs for artists working in visual arts & design, theater/film/TV/media, dance, and writing. We also host several inter-disciplinary programs.
LM: How many artists does the ministry serve? Are most of them professional artists?
LJ: Between Redeemer’s artists and artists from other churches (who we welcome) I'd guess that we have around 500 folks who are actively involved on some level with our ministry.
The term "professional" is a bit fuzzy in NYC. Most of the folks who come to our programs came to NYC to pursue creative careers. However, fewer than half are making 100% of their income through those careers. It's a necessity for most artists here to have a part- or full-time "survival job" that pays the bills, while they pursue their creative work as well. But these artists are still very serious, talented people who have the same education and passion as those who are making a living at it. The reality is that the pie is just not big enough here for everyone to get a large piece, but that’s not a reflection on them. I consider them all "professionals." I haven't met anyone through the Arts Ministry that is an "amateur" in the sense that they view their creative work primarily as a hobby for personal enjoyment. There’s always more to it than that, or they wouldn’t be here.
More from Luann Jennings on Thursday.
Coming soon: interviews with more artists along with a culture expert
Luann Purcell Jennings is an arts administrator, theater director, and acting teacher. Originally from Atlanta, GA, she worked with several theater companies there, and founded a theater company for children and families, before moving to New York City in 2002 to pursue additional studies in theater and to work at Redeemer Presbyterian Church. She now heads Redeemer's Arts Ministry and has recently resumed directing and teaching. For more information on the Arts Ministry, check out the website.
LeAnne: Why does Redeemer Presbyterian Church feel it's important to reach out to artists?
Luann: Largely it grew up practically. Of our weekly attendance of 5,000, some have estimated that up to 1/4 of those folks are involved in the arts, entertainment, media, fashion, etc., full-time or in addition to other paying work. NYC can be a tough place to live -- it's very competitive in these fields, and most of them don't pay well (except at the top tier, which everyone is scrambling to get to, and that’s why they came to NYC in the first place). Add in questions and confusion about how our Christian faith should intersect with our creative work within this context and you have a ministry area that's ripe to be developed.
Also, Redeemer has a strong commitment to cultural renewal through the arts. Our greatest asset and resource is our senior pastor, Tim Keller, who really gets how much influence the arts and artists have on the thinking and choices of the culture around us. Tim stays very current on the arts and talks (from the pulpit and otherwise) about artists as important members of our community and the culture at large. This makes the artists in our congregation feel valued and understood, an experience they may not have had before in church. Besides just the nature of being located in NYC, that's the biggest reason we have so many artists at Redeemer.
LM: How did the Arts Ministry come to be? How did you get involved in it?
LJ: The seeds have been there since the beginning of Redeemer nearly 20 years ago, through Tim and the philosophy and ministry of the Worship & Music department. But it was in 2004 that the Arts Ministry was officially created as a unit within Redeemer's Center for Faith & Work(CFW), a department that was started in 2003 to help people in all industries to integrate their faith with their work and their work with their faith
I was working in the Worship & Music department at the time. My background is in theater, and I had begun a project through the department with other theater professionals, which has since developed into an independent non-profit theater company, Threads Productions. Worship & Music was also hosting a worship dance project, and CFW was interested in hosting programs for artists, too, and had started a Writer's Group. So between Worship & Music and CFW there were several programs available for artists, but we (the directors of Worship & Music and CFW, and I) felt that there was still a great need that was going unmet. So the Arts Ministry was created in the CFW and I stepped into the leadership role in September 2004. Worship & Music still hosts programs for musicians, and the Arts Ministry houses programs for artists working in visual arts & design, theater/film/TV/media, dance, and writing. We also host several inter-disciplinary programs.
LM: How many artists does the ministry serve? Are most of them professional artists?
LJ: Between Redeemer’s artists and artists from other churches (who we welcome) I'd guess that we have around 500 folks who are actively involved on some level with our ministry.
The term "professional" is a bit fuzzy in NYC. Most of the folks who come to our programs came to NYC to pursue creative careers. However, fewer than half are making 100% of their income through those careers. It's a necessity for most artists here to have a part- or full-time "survival job" that pays the bills, while they pursue their creative work as well. But these artists are still very serious, talented people who have the same education and passion as those who are making a living at it. The reality is that the pie is just not big enough here for everyone to get a large piece, but that’s not a reflection on them. I consider them all "professionals." I haven't met anyone through the Arts Ministry that is an "amateur" in the sense that they view their creative work primarily as a hobby for personal enjoyment. There’s always more to it than that, or they wouldn’t be here.
More from Luann Jennings on Thursday.
Coming soon: interviews with more artists along with a culture expert
Thursday, February 14, 2008
Stealing Art
Did you hear about the art theft on Monday at a small museum in Zurich? Three masked thieves with guns snatched four oil paintings by Cezanne, Degas, van Gogh and Monet. Read about it here. It’s easier to steal—or, for that matter, to destroy—than to create. I’m praying they don’t get away with it.
On Monday, I gave you a few sentences from Tim Keller’s essay in It Was Good: Making Art to the Glory of God (Square Halo Books). I promised to give the next sentence to complete Keller’s thought. Here it is:
“We need Christian artists because we are never going to reach the world without great Christian art to go with great Christian talk.”
Whether you consider yourself a Christian artist or an artist who happens to be a Christian, use your gift to the best of your ability. Do whatever you do with excellence, and don’t let anyone steal your desire to create.
Coming soon: a culture expert and more artists
On Monday, I gave you a few sentences from Tim Keller’s essay in It Was Good: Making Art to the Glory of God (Square Halo Books). I promised to give the next sentence to complete Keller’s thought. Here it is:
“We need Christian artists because we are never going to reach the world without great Christian art to go with great Christian talk.”
Whether you consider yourself a Christian artist or an artist who happens to be a Christian, use your gift to the best of your ability. Do whatever you do with excellence, and don’t let anyone steal your desire to create.
Coming soon: a culture expert and more artists
Monday, February 11, 2008
What I’m Reading
Alice Bass, an actor and creativity expert I featured last spring, tagged me with a book meme a couple of weeks ago. (Sorry, Alice, that I’m just now getting to it.) Here are the rules:
1. Pick up the nearest book (of at least 123 pages).
2. Open the book to page 123.
3. Find the fifth sentence.
4. Post the next three sentences.
5. Tag five people.
The nearest book on my desk is one I’m slowly savoring called It was Good: Making Art to the Glory of God (Square Halo Books). It’s a collection of essays edited by Ned Bustard, who I featured in December. Page 123 falls in the middle of a piece titled “Why We Need Artists” by Tim Keller, founding pastor of Manhattan’s Redeemer Presbyterian Church, known for its arts program.
So, here we go. Page 123, 5th sentence and then the next three:
“There is a sort of schizophrenia that occurs if you are listening to Bach and you hear the glory of God and yet your mind says there is no God and there is no meaning. You are committed to believing nothing means anything and yet the music comes in and takes you over with your imagination. When you listen to great music, you can’t believe life is meaningless. Your heart knows what your mind is denying.”
Keller’s next sentence explains why we need artists. You’ll have to wait until Thursday’s post for that one.
Now, for step #5, I’m tagging these people:
Crystal writes fiction and nonfiction with humor and warmth. I love her voice. She used to write book reviews, too, because she is a voracious reader. She will have a fun and interesting read, no doubt.
Byron from Hearts and Minds Books always has something wonderful on his desk. I hope he has time to do this.
With his book, Chandler Branch, Executive Director of Soli Deo Gloria, may continue the music theme of Keller’s quotation above, but maybe not.
Plus, two other gifted writers I know, both of whom have major projects on their desks right now: Towles and Colin.
So, what are you reading?
1. Pick up the nearest book (of at least 123 pages).
2. Open the book to page 123.
3. Find the fifth sentence.
4. Post the next three sentences.
5. Tag five people.
The nearest book on my desk is one I’m slowly savoring called It was Good: Making Art to the Glory of God (Square Halo Books). It’s a collection of essays edited by Ned Bustard, who I featured in December. Page 123 falls in the middle of a piece titled “Why We Need Artists” by Tim Keller, founding pastor of Manhattan’s Redeemer Presbyterian Church, known for its arts program.
So, here we go. Page 123, 5th sentence and then the next three:
“There is a sort of schizophrenia that occurs if you are listening to Bach and you hear the glory of God and yet your mind says there is no God and there is no meaning. You are committed to believing nothing means anything and yet the music comes in and takes you over with your imagination. When you listen to great music, you can’t believe life is meaningless. Your heart knows what your mind is denying.”
Keller’s next sentence explains why we need artists. You’ll have to wait until Thursday’s post for that one.
Now, for step #5, I’m tagging these people:
Crystal writes fiction and nonfiction with humor and warmth. I love her voice. She used to write book reviews, too, because she is a voracious reader. She will have a fun and interesting read, no doubt.
Byron from Hearts and Minds Books always has something wonderful on his desk. I hope he has time to do this.
With his book, Chandler Branch, Executive Director of Soli Deo Gloria, may continue the music theme of Keller’s quotation above, but maybe not.
Plus, two other gifted writers I know, both of whom have major projects on their desks right now: Towles and Colin.
So, what are you reading?
Thursday, February 07, 2008
John Silvis, Part 2: NYCAMS
Photographer John Silvis is director of NYCAMS (www.nycams.bethel.edu), the New York Center for Art and Media Studies, an arts residency of Bethel University in St. Paul, MN (www.bethel.edu). John has an MFA from the Academy of Fine Arts in Vienna and a BA in Studio Art from Bethel University. To see some of John’s work, go to http://nycams.bethel.edu/silvis.html.
LM: Tell me about the NYCAMS program. What is it? How does it work?
JS: NYCAMS (New York Center for Art and Media Studies) is a semester art residency program for Junior and Senior undergraduate students pursuing a terminal degree in art. Students in the program receive 16 credits, which include a Contemporary Art course, a critique based Studio course and an Internship in the Arts. We receive students from 20 different Universities in the CCCU. Bethel University Art Department in St. Paul, MN owns and operates the program. Our studio is located in Chelsea, New York City.
LM: Are the students in the program trying to engage the culture with their faith and creativity? How do you encourage them in this?
JS: Yes, we provide the students with a background in Contemporary Art, as well as how Christians have engaged culture past and present. We have an exciting guest lecture program that allows them to hear from artists in the community and artists that are very deliberate about their Faith.
LM: Tell me about the NYCAMS program. What is it? How does it work?
JS: NYCAMS (New York Center for Art and Media Studies) is a semester art residency program for Junior and Senior undergraduate students pursuing a terminal degree in art. Students in the program receive 16 credits, which include a Contemporary Art course, a critique based Studio course and an Internship in the Arts. We receive students from 20 different Universities in the CCCU. Bethel University Art Department in St. Paul, MN owns and operates the program. Our studio is located in Chelsea, New York City.
LM: Are the students in the program trying to engage the culture with their faith and creativity? How do you encourage them in this?
JS: Yes, we provide the students with a background in Contemporary Art, as well as how Christians have engaged culture past and present. We have an exciting guest lecture program that allows them to hear from artists in the community and artists that are very deliberate about their Faith.
Monday, February 04, 2008
John Silvis: Capturing Moments
Photographer John Silvis is director of NYCAMS (http://www.nycams.bethel.edu/), the New York Center for Art and Media Studies, an arts residency of Bethel University in St. Paul, MN (www.bethel.edu). John has an MFA from the Academy of Fine Arts in Vienna and a BA in Studio Art from Bethel University. To see some of John’s work, go to http://nycams.bethel.edu/silvis.html.
LeAnne: Tell me about your photography. Have you always been drawn to it? Why?
John: Photography has been second nature for me since my twelvth birthday when I received my first camera from my father. During high school, I learnt how to develop and print black and white film, and then continued developing my technical skills and conceptual work in my undergraduate studies. Capturing a certain moment and the possibility of creating a composition with light and form continue to fascinate me.
LM: What are you working on right now?
JS: Since 2004, I have turned my focus from traditional portraiture to the automobile and our relationship to it. I have been making collages, combining Polaroids and magazine images of cars, setting up environments with car models and photographing cars in motion. What interests me is what they represent as cultural signifiers and how they shape our identity. For most people they hold memories and ideas that are unique to our post-industrial era.
LM: You've got a long list of awards and grants, exhibitions and collections. What has been the most exciting highlight of your career so far?
JS: The most challenging and exciting exhibition of my career was the family series I exhibited at the Essl Collection Vienna in 2001, as a part of their emerging artists series. That exhibit was exciting because I was able to work on a large project and have it seen by a lot of people in the art world. The opening was a great opportunity to meet people and talk about the work. At the opening, I also did a performance piece with a Swiss artist, Daniel Ashwanden. It included video, pre-recorded sound, objects, but was mostly improvised.
More from John on Thursday.
LeAnne: Tell me about your photography. Have you always been drawn to it? Why?
John: Photography has been second nature for me since my twelvth birthday when I received my first camera from my father. During high school, I learnt how to develop and print black and white film, and then continued developing my technical skills and conceptual work in my undergraduate studies. Capturing a certain moment and the possibility of creating a composition with light and form continue to fascinate me.
LM: What are you working on right now?
JS: Since 2004, I have turned my focus from traditional portraiture to the automobile and our relationship to it. I have been making collages, combining Polaroids and magazine images of cars, setting up environments with car models and photographing cars in motion. What interests me is what they represent as cultural signifiers and how they shape our identity. For most people they hold memories and ideas that are unique to our post-industrial era.
LM: You've got a long list of awards and grants, exhibitions and collections. What has been the most exciting highlight of your career so far?
JS: The most challenging and exciting exhibition of my career was the family series I exhibited at the Essl Collection Vienna in 2001, as a part of their emerging artists series. That exhibit was exciting because I was able to work on a large project and have it seen by a lot of people in the art world. The opening was a great opportunity to meet people and talk about the work. At the opening, I also did a performance piece with a Swiss artist, Daniel Ashwanden. It included video, pre-recorded sound, objects, but was mostly improvised.
More from John on Thursday.
Thursday, January 31, 2008
Kerry Jackson, Part 2: Inspiring Artists to Reconnect
Kerry Jackson, a visual artist, ministers to the arts community in Atlanta as a Mission Service Corps missionary and church planter (www.drawingtotherock.com/msc). He’s also president of Drawing to the Rock Ministries, Inc. (www.drawingtotherock.com) and presents live worship art around the world.
LeAnne: Tell me about the gallery you are planning to open.
Kerry: God has given us the vision for a studio/gallery where thought-provoking art can be seen so that spiritual conversations can be generated. The gallery will also be a place for other Christian artists to share their acts of worship. It will be a gathering place for artists as well as art lovers. It will be a great place to build relationships and community. We will have shows and receptions. We will have art classes, creativity seminars, and Bible studies. This will lead to a new church start.
LM: What are you doing right now to reach out to artists?
KJ: Right now we're just trying meet them and find out where they are. Our desire is to volunteer and serve them, to help them be successful. We are immersing ourselves in the arts community by participating in guilds, associations, and clubs. We are volunteers at many of the art venues in Atlanta. We are reaching out to all creative people—not only visual artists, but actors, set designers, dancers, photographers, poets, musicians, etc, as well as those who profess not to have artistic talent but simply love art. We're praying that they will not only see us as colleagues, but as friends. We have to gain their trust before they will listen to us regarding spiritual matters. As we are blessed to help people find the Lord, we will help these new believers begin their discipleship by involving them in a local church.
LM: How are you being received by them?
KJ: So far so good. Our volunteer efforts seem to be very much appreciated. Once they begin to trust us, they are interested in hearing about our church planting efforts. When they learn I'm a visual artist, they want to see my work. Once they see it, spiritual conversations soon begin.
LM: Is there anything else you'd like to say about Christians in the arts?
KJ: Everywhere I go I'm introduced to many "artists" who tell me that they never really thought about using their talent for God. There has been such a disconnect with the Church and the arts that they don't see themselves worthy of being a "minister." My prayer is that through our small efforts, we can inspire a few people to reconnect with God and the Church.
On Monday: a photographer
LeAnne: Tell me about the gallery you are planning to open.
Kerry: God has given us the vision for a studio/gallery where thought-provoking art can be seen so that spiritual conversations can be generated. The gallery will also be a place for other Christian artists to share their acts of worship. It will be a gathering place for artists as well as art lovers. It will be a great place to build relationships and community. We will have shows and receptions. We will have art classes, creativity seminars, and Bible studies. This will lead to a new church start.
LM: What are you doing right now to reach out to artists?
KJ: Right now we're just trying meet them and find out where they are. Our desire is to volunteer and serve them, to help them be successful. We are immersing ourselves in the arts community by participating in guilds, associations, and clubs. We are volunteers at many of the art venues in Atlanta. We are reaching out to all creative people—not only visual artists, but actors, set designers, dancers, photographers, poets, musicians, etc, as well as those who profess not to have artistic talent but simply love art. We're praying that they will not only see us as colleagues, but as friends. We have to gain their trust before they will listen to us regarding spiritual matters. As we are blessed to help people find the Lord, we will help these new believers begin their discipleship by involving them in a local church.
LM: How are you being received by them?
KJ: So far so good. Our volunteer efforts seem to be very much appreciated. Once they begin to trust us, they are interested in hearing about our church planting efforts. When they learn I'm a visual artist, they want to see my work. Once they see it, spiritual conversations soon begin.
LM: Is there anything else you'd like to say about Christians in the arts?
KJ: Everywhere I go I'm introduced to many "artists" who tell me that they never really thought about using their talent for God. There has been such a disconnect with the Church and the arts that they don't see themselves worthy of being a "minister." My prayer is that through our small efforts, we can inspire a few people to reconnect with God and the Church.
On Monday: a photographer
Monday, January 28, 2008
Kerry Jackson: Ministering to Creative People
Kerry Jackson, a visual artist, ministers to the arts community in Atlanta as a Mission Service Corps missionary and church planter (www.drawingtotherock.com/msc). He’s also president of Drawing to the Rock Ministries, Inc. (www.drawingtotherock.com) and presents live worship art around the world.
LeAnne: What is your background in art?
Kerry: I've been involved in art all my life. I always knew that I'd be an artist when I grew up. I received a BA in Painting from Mississippi State University. I also have a Masters in Communication Arts from Southwestern Baptist Theological Seminary. My art is primarily spiritual in nature, however I also paint traditional landscapes. I work mostly in mixed media. I also travel around the world presenting live worship art in churches and Christian schools.
LM: In October 2006, you were commissioned to be a missionary to the arts community. How did this come about?
KJ: After a mission trip to Europe where I had the opportunity to meet and talk to street artists outside the tourist venues, I came back home wondering: who is trying to reach creative people for God? That became my prayer. I felt God say in my heart, "No one. Will you?" So, the idea for a ministry to creative people was birthed.
LM: Tell me about your ministry in Atlanta. What is your vision?
KJ: We see a day when a church will be started that will be so creative in its worship that creative people will feel inspired to worship God in the way that He has gifted them. It is our desire and charge to see this model replicated all over North America.
Thursday: more from Kerry Jackson. Next week: a photographer.
LeAnne: What is your background in art?
Kerry: I've been involved in art all my life. I always knew that I'd be an artist when I grew up. I received a BA in Painting from Mississippi State University. I also have a Masters in Communication Arts from Southwestern Baptist Theological Seminary. My art is primarily spiritual in nature, however I also paint traditional landscapes. I work mostly in mixed media. I also travel around the world presenting live worship art in churches and Christian schools.
LM: In October 2006, you were commissioned to be a missionary to the arts community. How did this come about?
KJ: After a mission trip to Europe where I had the opportunity to meet and talk to street artists outside the tourist venues, I came back home wondering: who is trying to reach creative people for God? That became my prayer. I felt God say in my heart, "No one. Will you?" So, the idea for a ministry to creative people was birthed.
LM: Tell me about your ministry in Atlanta. What is your vision?
KJ: We see a day when a church will be started that will be so creative in its worship that creative people will feel inspired to worship God in the way that He has gifted them. It is our desire and charge to see this model replicated all over North America.
Thursday: more from Kerry Jackson. Next week: a photographer.
Thursday, January 24, 2008
Luci Shaw on Madeleine L'Engle
Today, I want to direct your attention to poet Luci Shaw’s excellent tribute to Madeleine L’Engle. If you have not read L’Engle’s Walking on Water, pick up a copy as soon as you can. It’s a must-read for artists, and I have quoted from it on the blog before. Check out Shaw’s tribute at http://www.christianitytoday.com/bc/2008/001/10.8.html.
Enjoy your weekend.
Enjoy your weekend.
Monday, January 21, 2008
Timothy Michael Powell, Part 3: An Expression of the Human Experience
This is the conclusion of my interview with Dr. Timothy Michael Powell, an accomplished conductor and composer. He is the Director of Choral and Vocal Studies at Lee College and directs the Lee College Chorale and the Baytown Community Chorus. Dr. Powell holds a DMA in Conducting from the University of South Carolina and was the 1999 National Choristers Guild Scholar, a 2002-2003 Fulbright Scholar to Bulgaria, and a 2002 Fellow with the prestigious South Carolina Conductors Institute. He received both his Bachelors (cum laude) and his Masters degrees in Church Music from Belmont University.
He was the Rhodes College Conductor-in-Residence for the 2004-2005 Season and the Director of the Honors College Choir at the University of South Carolina from 2001-2002. His compositions include numerous major works, including his "Wedding Mass" which will be premiered in Carnegie Hall in June of 2008, and his opera "His Terrible Swift Sword" which was premiered in April of 2007. Go to www.DCINY.org for more information about the concert.
Dr. Powell is an active clinician and scholar and holds memberships in the Pi Kappa Lambda Music Society, The Texas Music Educator's Association, and the American Choral Director's Association. He serves as the Director of Music at St. Matthews United Methodist Church in Houston, TX. Samples of his music can be heard at www.myspace.com/timothymichaelpowell.
LM: Your MySpace site lists about two dozen musicians who have influenced you. Pick two or three and tell why and how they influenced you.
TP: I think that Giovanni de Palestrina is my model for small-scale motet construction. His music is so beautiful and loses none of its emotional impact, even after 400+ years. Yet at the same time, there is a certain succinctness and crystalline sparseness of form, almost a conservatism, that allows the climatic moments to develop and emerge and then hit you over the head like a hammer. I'm thinking particularly of his piece In Monte Oliveti, which is a setting of this biblical text: "On the Mount of Olives, he said to his Father: ‘Father, if it be possible, take from me this cup: Let it be your will.’" There's a moment in the last line which gives me goosebumps just thinking about it.
As for living American musicians, I would say that I have an affinity for composers like Eric Whitacre and Morten Lauridsen, who are part of a neo-tonal movement in classical music. I think the text painting of Whitacre has been influential for me, and the large-scale motivic construction of Lauridsen's music has influenced my larger works, particularly the Wedding Mass. As for pop stuff, I'm definitely influenced by country and bluegrass. I spent some time in grad school playing in a rockgrass band, which was a great outlet for writing songs. The band, Salt Creek, produced a studio album which included a number of my songs. However, I feel like there is an approach to musical climax in my pop music that actually comes from groups like U2 and Coldplay. They have a rhythmic drive and energy that explodes on you that I just love.
LM: Does your faith impact your music? If so, how?
TP: In the sense that I am a Christian and a composer, then yes, but I do not consider myself a "Christian musician" in the sense of the Nashvegas CCM world. I hope that my faith impacts all that I do, and I don't think it would be possible for there not to be some bleeding of my faith into my art. Art is quite personal. You can't create something artistic in a vacuum and also cannot expect that you can create art without exposing vulnerability. My classical music is almost exclusively Christian, because I set sacred texts for choir. That, however, is also driven as much by the practicalities of being a church choir director and an administrator of a collegiate choral and sacred music program.
I don't shy away from secular subjects, however. Music, and its composition, to me is an expression of the total human experience. I think that Christ is incarnate in the every day, as well as in the highest worship. He's present at the conversion of new believers, but also in the midst of the relationships between people, the suffering in the world, politics, war, hunger, etc. As such, I don't see much disconnect between being a composer who writes music for the church, and who also can write a pop song that doesn't refer to God at all, or in fact references taboo subjects like sex. My opera His Terrible Swift Sword, as an example, is based on characters from Steinbeck's Grapes of Wrath as well as the Biblical story of Job. It tells the story of a preacher who loses his faith after having an extra-marital affair under the temptation of a devil-like figure. It is certainly PG-13, and deals with very difficult questions about morality, faith, and providence. But so does the Bible, I think, and you have to ignore a great deal of messy stuff to believe that God doesn't have something to say about all of it (which He does), or that everything is black and white and cut and dried (which it is not).
Happy Martin Luther King Day. Enjoy the holiday.
He was the Rhodes College Conductor-in-Residence for the 2004-2005 Season and the Director of the Honors College Choir at the University of South Carolina from 2001-2002. His compositions include numerous major works, including his "Wedding Mass" which will be premiered in Carnegie Hall in June of 2008, and his opera "His Terrible Swift Sword" which was premiered in April of 2007. Go to www.DCINY.org for more information about the concert.
Dr. Powell is an active clinician and scholar and holds memberships in the Pi Kappa Lambda Music Society, The Texas Music Educator's Association, and the American Choral Director's Association. He serves as the Director of Music at St. Matthews United Methodist Church in Houston, TX. Samples of his music can be heard at www.myspace.com/timothymichaelpowell.
LM: Your MySpace site lists about two dozen musicians who have influenced you. Pick two or three and tell why and how they influenced you.
TP: I think that Giovanni de Palestrina is my model for small-scale motet construction. His music is so beautiful and loses none of its emotional impact, even after 400+ years. Yet at the same time, there is a certain succinctness and crystalline sparseness of form, almost a conservatism, that allows the climatic moments to develop and emerge and then hit you over the head like a hammer. I'm thinking particularly of his piece In Monte Oliveti, which is a setting of this biblical text: "On the Mount of Olives, he said to his Father: ‘Father, if it be possible, take from me this cup: Let it be your will.’" There's a moment in the last line which gives me goosebumps just thinking about it.
As for living American musicians, I would say that I have an affinity for composers like Eric Whitacre and Morten Lauridsen, who are part of a neo-tonal movement in classical music. I think the text painting of Whitacre has been influential for me, and the large-scale motivic construction of Lauridsen's music has influenced my larger works, particularly the Wedding Mass. As for pop stuff, I'm definitely influenced by country and bluegrass. I spent some time in grad school playing in a rockgrass band, which was a great outlet for writing songs. The band, Salt Creek, produced a studio album which included a number of my songs. However, I feel like there is an approach to musical climax in my pop music that actually comes from groups like U2 and Coldplay. They have a rhythmic drive and energy that explodes on you that I just love.
LM: Does your faith impact your music? If so, how?
TP: In the sense that I am a Christian and a composer, then yes, but I do not consider myself a "Christian musician" in the sense of the Nashvegas CCM world. I hope that my faith impacts all that I do, and I don't think it would be possible for there not to be some bleeding of my faith into my art. Art is quite personal. You can't create something artistic in a vacuum and also cannot expect that you can create art without exposing vulnerability. My classical music is almost exclusively Christian, because I set sacred texts for choir. That, however, is also driven as much by the practicalities of being a church choir director and an administrator of a collegiate choral and sacred music program.
I don't shy away from secular subjects, however. Music, and its composition, to me is an expression of the total human experience. I think that Christ is incarnate in the every day, as well as in the highest worship. He's present at the conversion of new believers, but also in the midst of the relationships between people, the suffering in the world, politics, war, hunger, etc. As such, I don't see much disconnect between being a composer who writes music for the church, and who also can write a pop song that doesn't refer to God at all, or in fact references taboo subjects like sex. My opera His Terrible Swift Sword, as an example, is based on characters from Steinbeck's Grapes of Wrath as well as the Biblical story of Job. It tells the story of a preacher who loses his faith after having an extra-marital affair under the temptation of a devil-like figure. It is certainly PG-13, and deals with very difficult questions about morality, faith, and providence. But so does the Bible, I think, and you have to ignore a great deal of messy stuff to believe that God doesn't have something to say about all of it (which He does), or that everything is black and white and cut and dried (which it is not).
Happy Martin Luther King Day. Enjoy the holiday.
Thursday, January 17, 2008
Timothy Michael Powell, Part 2: “New Places”
Dr. Timothy Michael Powell is an accomplished conductor and composer. He is the Director of Choral and Vocal Studies at Lee College and directs the Lee College Chorale and the Baytown Community Chorus. Dr. Powell holds a DMA in Conducting from the University of South Carolina and was the 1999 National Choristers Guild Scholar, a 2002-2003 Fulbright Scholar to Bulgaria, and a 2002 Fellow with the prestigious South Carolina Conductors Institute. He received both his Bachelors (cum laude) and his Masters degrees in Church Music from Belmont University.
He was the Rhodes College Conductor-in-Residence for the 2004-2005 Season and the Director of the Honors College Choir at the University of South Carolina from 2001-2002. His compositions include numerous major works, including his "Wedding Mass" which will be premiered in Carnegie Hall in June of 2008, and his opera "His Terrible Swift Sword" which was premiered in April of 2007. Go to www.DCINY.org for more information about the concert.
Dr. Powell is an active clinician and scholar and holds memberships in the Pi Kappa Lambda Music Society, The Texas Music Educator's Association, and the American Choral Director's Association. He serves as the Director of Music at St. Matthews United Methodist Church in Houston, TX. Samples of his music can be heard at www.myspace.com/timothymichaelpowell.
LM: You were awarded a Fulbright grant to study in Bulgaria. What was that experience like? How did it change you? How did it affect your music?
TP: It was the seminal experience of my adult life. Bulgaria, though part of Europe, is such a melting pot between east and west, Christian and Muslim. Throw in the Romany or gypsy culture, and it often feels like you have entered a different world. There's a wonderful tension between the old and new there, particularly since the fall of communism. I lived in an apartment in downtown Sofia. Down the street was the most expensive hotel in the country, surrounded by modern boutiques and shops, and the national soccer stadium. Yet every day, I woke up to the sound of a donkey and wagon being driven by a gypsy passing under my balcony. It was surreal. If it changed me in any way, it was that I became much more self-sufficient. When you only speak a little of the language and you have to catch a bus, you learn quickly to adjust, to cope, to do what needs done, and to learn how to approach complete strangers with hand signals. Musically, I don't know if it had much of an artistic impact, other than I wrote a lot more pop music because I didn't have a piano. I had my guitar and more free time than I've ever had in my life, so that combination produced a lot of good music. Since the dollar went a long way in 2003, I also got to experiment in the recording studio with no time or financial limits, which I think is one of the reasons that “New Places” [a song I wrote there] is successful. If you have the freedom to discard mistakes and start over, then you can also polish and tweak until you are satisfied.
LM: Let's talk about your song, "New Places," inspired by JRR Tolkien. What is it about?
TP: Well, I was living in Bulgaria at the time and listening to a great deal of Cold Play, Nora Jones, and classic Sting. In addition, I was a bit overwhelmed by the experience of living in a different culture. I'd just seen the Fellowship of the Ring for about the 5th time (I've read the Lord of the Rings just about every year since I was in the 4th grade) and was inspired by the visual vistas of the movie. Since I had this feeling that I was entering uncharted territory (at least in my own life) by living in Eastern Europe, and that I was having the great adventure of my life, I decided to put pen to paper to talk about going "across the sea under twinkling stars to fields where no one's been." What emerged was a song that was informed by those three artists (though I think it is much lusher, more exotic, and much more symphonic than any one of the three) and which alluded to Tolkien's poem from The Hobbit and the Lord of the Rings, "The Road Goes Ever On and On." The song was written on my old guitar, but I got to mess around in the studio and played all but one instrument on the recording. Now that Peter Jackson has agreed to do The Hobbit movie, I'm hoping the song will get a little more attention and make it on to the soundtrack. Some of the folks in the worldwide fan community for the movies come by my Myspace page regularly to comment on the song. I'm hoping that lightning will strike and the song will get some attention.
Don’t miss the conclusion of my interview with Tim Powell on Monday.
He was the Rhodes College Conductor-in-Residence for the 2004-2005 Season and the Director of the Honors College Choir at the University of South Carolina from 2001-2002. His compositions include numerous major works, including his "Wedding Mass" which will be premiered in Carnegie Hall in June of 2008, and his opera "His Terrible Swift Sword" which was premiered in April of 2007. Go to www.DCINY.org for more information about the concert.
Dr. Powell is an active clinician and scholar and holds memberships in the Pi Kappa Lambda Music Society, The Texas Music Educator's Association, and the American Choral Director's Association. He serves as the Director of Music at St. Matthews United Methodist Church in Houston, TX. Samples of his music can be heard at www.myspace.com/timothymichaelpowell.
LM: You were awarded a Fulbright grant to study in Bulgaria. What was that experience like? How did it change you? How did it affect your music?
TP: It was the seminal experience of my adult life. Bulgaria, though part of Europe, is such a melting pot between east and west, Christian and Muslim. Throw in the Romany or gypsy culture, and it often feels like you have entered a different world. There's a wonderful tension between the old and new there, particularly since the fall of communism. I lived in an apartment in downtown Sofia. Down the street was the most expensive hotel in the country, surrounded by modern boutiques and shops, and the national soccer stadium. Yet every day, I woke up to the sound of a donkey and wagon being driven by a gypsy passing under my balcony. It was surreal. If it changed me in any way, it was that I became much more self-sufficient. When you only speak a little of the language and you have to catch a bus, you learn quickly to adjust, to cope, to do what needs done, and to learn how to approach complete strangers with hand signals. Musically, I don't know if it had much of an artistic impact, other than I wrote a lot more pop music because I didn't have a piano. I had my guitar and more free time than I've ever had in my life, so that combination produced a lot of good music. Since the dollar went a long way in 2003, I also got to experiment in the recording studio with no time or financial limits, which I think is one of the reasons that “New Places” [a song I wrote there] is successful. If you have the freedom to discard mistakes and start over, then you can also polish and tweak until you are satisfied.
LM: Let's talk about your song, "New Places," inspired by JRR Tolkien. What is it about?
TP: Well, I was living in Bulgaria at the time and listening to a great deal of Cold Play, Nora Jones, and classic Sting. In addition, I was a bit overwhelmed by the experience of living in a different culture. I'd just seen the Fellowship of the Ring for about the 5th time (I've read the Lord of the Rings just about every year since I was in the 4th grade) and was inspired by the visual vistas of the movie. Since I had this feeling that I was entering uncharted territory (at least in my own life) by living in Eastern Europe, and that I was having the great adventure of my life, I decided to put pen to paper to talk about going "across the sea under twinkling stars to fields where no one's been." What emerged was a song that was informed by those three artists (though I think it is much lusher, more exotic, and much more symphonic than any one of the three) and which alluded to Tolkien's poem from The Hobbit and the Lord of the Rings, "The Road Goes Ever On and On." The song was written on my old guitar, but I got to mess around in the studio and played all but one instrument on the recording. Now that Peter Jackson has agreed to do The Hobbit movie, I'm hoping the song will get a little more attention and make it on to the soundtrack. Some of the folks in the worldwide fan community for the movies come by my Myspace page regularly to comment on the song. I'm hoping that lightning will strike and the song will get some attention.
Don’t miss the conclusion of my interview with Tim Powell on Monday.
Monday, January 14, 2008
Timothy Michael Powell: Concert at Carnegie Hall
Dr. Timothy Michael Powell is an accomplished conductor and composer. He is the Director of Choral and Vocal Studies at Lee College and directs the Lee College Chorale and the Baytown Community Chorus. Dr. Powell holds a DMA in Conducting from the University of South Carolina and was the 1999 National Choristers Guild Scholar, a 2002-2003 Fulbright Scholar to Bulgaria, and a 2002 Fellow with the prestigious South Carolina Conductors Institute. He received both his Bachelors (cum laude) and his Masters degrees in Church Music from Belmont University.
He was the Rhodes College Conductor-in-Residence for the 2004-2005 Season and the Director of the Honors College Choir at the University of South Carolina from 2001-2002. His compositions include numerous major works, including his "Wedding Mass" which will be premiered in Carnegie Hall in June of 2008, and his opera "His Terrible Swift Sword" which was premiered in April of 2007. Go to www.DCINY.org for more information about the concert.
Dr. Powell is an active clinician and scholar and holds memberships in the Pi Kappa Lambda Music Society, The Texas Music Educator's Association, and the American Choral Director's Association. He serves as the Director of Music at St. Matthews United Methodist Church in Houston, TX. Samples of his music can be heard at www.myspace.com/timothymichaelpowell.
LeAnne: On June 14, you'll be directing the world premiere of your Wedding Mass in Carnegie Hall. The concert is produced in collaboration with Distinguished Concerts International New York. How did this opportunity come about?
Tim: I've been to Carnegie a number of times as a singer and participant in similar concerts and during the course of the last couple of years developed a relationship with Iris Derke, who is the executive director of DCINY. We sat down in Miami this year to discuss the possibility of me coming to Carnegie to conduct a festival concert. During our brainstorming we talked about a number of options for the concert, and I mentioned that I had a major choral work that I thought would be a great match for Carnegie. She asked me to send along a copy of the music and a recording, and I got a call a couple of weeks later from Jonathan Griffith, who is the artistic director, inviting me to premiere the piece. We decided to expand the accompaniment for full orchestra for the premiere performance (it was performed first in the spring of 2005 in a chamber orchestra setting for a small crowd in Memphis). It was a great honor to be invited to such a wonderful and historic venue!
LM: What inspired you to write your Wedding Mass? Tell me about your composing process.
TP: The melodic basis for the piece actually comes from a song I wrote about 9 years ago about an afternoon that I spent with my sister at the beach. When she told me she was getting married, I turned the melody into a processional for piano and cello that she used when she walked down the aisle during the ceremony. When I was beginning the composition of the Wedding Mass, the melody seemed to fit the tripartite structure of the Kyrie ("Lord, Have Mercy") which is the opening prayer of the Catholic and Orthodox worship service. Once the Kyrie was in place, I began to work on the other movements. The Agnus Dei ("Lamb of God") came next, followed by the Gloria, Credo and Sanctus. The Mass was basically finished, but then I lost the manuscript for the Agnus Dei. It worked out well, however, because after September 11, 2001 I rewrote the movement from memory and made some important adjustments to the structure and melody. I think these changes more accurately reflect the inherent tension between repentance and forgiveness, darkness and light, and grief and catharsis that is present in the Agnus Dei prayer, "Lamb of God who takes away the sin of the world, have mercy on us; grant us peace." I put the Mass away for some time, and then before my own wedding to my wife Jen in 2005, I wrote the middle movement "When Love is Found" using the beautiful hymn text by Brian Wren. When the Mass was sung for the first time in its chamber orchestra setting, I decided to include that movement. A choir of my closest friends also sang that movement during my wedding ceremony.
As for my compositional process, it really is different for every piece. I haven't settled on a specific process, mainly because I am not a full-time composer. In my day job, I'm a conductor and a department administrator, which means I have to squeeze out time to compose when I have free time. I'm also a bit "streaky", to use a baseball term. I compose in bursts, and then don't compose for long periods of time, sometimes months. I don't have an efficient system that allows me to crank out material on demand. My music tends to percolate, to languish on the piano, to get lost underneath huge piles of other work, and then to somehow work its way to the top in some kind of Darwinian process to emerge sometimes years later as a finished piece. In that sense, however, the editing process I have is exhaustive and always ongoing. The way that I approached my Mass was very different from the way I composed my opera, for instance, or the way I approach smaller works like motets, anthems, and songs. With the Mass, it developed over 5 years. The bulk of my opera, at least an hour's worth of music, was written in about 4 weeks. My most frequently performed motet, Mirabile Mysterium, was written in an hour but underwent at least a week's worth of revisions. If there is an over-arching inspirational process, it is certainly based on the text that I'm setting, which as far as I am concerned, should be the be-all and end-all of choral composition.
On Thursday, Tim Powell will talk about his song inspired by JRR Tolkien and his time in Bulgaria.
He was the Rhodes College Conductor-in-Residence for the 2004-2005 Season and the Director of the Honors College Choir at the University of South Carolina from 2001-2002. His compositions include numerous major works, including his "Wedding Mass" which will be premiered in Carnegie Hall in June of 2008, and his opera "His Terrible Swift Sword" which was premiered in April of 2007. Go to www.DCINY.org for more information about the concert.
Dr. Powell is an active clinician and scholar and holds memberships in the Pi Kappa Lambda Music Society, The Texas Music Educator's Association, and the American Choral Director's Association. He serves as the Director of Music at St. Matthews United Methodist Church in Houston, TX. Samples of his music can be heard at www.myspace.com/timothymichaelpowell.
LeAnne: On June 14, you'll be directing the world premiere of your Wedding Mass in Carnegie Hall. The concert is produced in collaboration with Distinguished Concerts International New York. How did this opportunity come about?
Tim: I've been to Carnegie a number of times as a singer and participant in similar concerts and during the course of the last couple of years developed a relationship with Iris Derke, who is the executive director of DCINY. We sat down in Miami this year to discuss the possibility of me coming to Carnegie to conduct a festival concert. During our brainstorming we talked about a number of options for the concert, and I mentioned that I had a major choral work that I thought would be a great match for Carnegie. She asked me to send along a copy of the music and a recording, and I got a call a couple of weeks later from Jonathan Griffith, who is the artistic director, inviting me to premiere the piece. We decided to expand the accompaniment for full orchestra for the premiere performance (it was performed first in the spring of 2005 in a chamber orchestra setting for a small crowd in Memphis). It was a great honor to be invited to such a wonderful and historic venue!
LM: What inspired you to write your Wedding Mass? Tell me about your composing process.
TP: The melodic basis for the piece actually comes from a song I wrote about 9 years ago about an afternoon that I spent with my sister at the beach. When she told me she was getting married, I turned the melody into a processional for piano and cello that she used when she walked down the aisle during the ceremony. When I was beginning the composition of the Wedding Mass, the melody seemed to fit the tripartite structure of the Kyrie ("Lord, Have Mercy") which is the opening prayer of the Catholic and Orthodox worship service. Once the Kyrie was in place, I began to work on the other movements. The Agnus Dei ("Lamb of God") came next, followed by the Gloria, Credo and Sanctus. The Mass was basically finished, but then I lost the manuscript for the Agnus Dei. It worked out well, however, because after September 11, 2001 I rewrote the movement from memory and made some important adjustments to the structure and melody. I think these changes more accurately reflect the inherent tension between repentance and forgiveness, darkness and light, and grief and catharsis that is present in the Agnus Dei prayer, "Lamb of God who takes away the sin of the world, have mercy on us; grant us peace." I put the Mass away for some time, and then before my own wedding to my wife Jen in 2005, I wrote the middle movement "When Love is Found" using the beautiful hymn text by Brian Wren. When the Mass was sung for the first time in its chamber orchestra setting, I decided to include that movement. A choir of my closest friends also sang that movement during my wedding ceremony.
As for my compositional process, it really is different for every piece. I haven't settled on a specific process, mainly because I am not a full-time composer. In my day job, I'm a conductor and a department administrator, which means I have to squeeze out time to compose when I have free time. I'm also a bit "streaky", to use a baseball term. I compose in bursts, and then don't compose for long periods of time, sometimes months. I don't have an efficient system that allows me to crank out material on demand. My music tends to percolate, to languish on the piano, to get lost underneath huge piles of other work, and then to somehow work its way to the top in some kind of Darwinian process to emerge sometimes years later as a finished piece. In that sense, however, the editing process I have is exhaustive and always ongoing. The way that I approached my Mass was very different from the way I composed my opera, for instance, or the way I approach smaller works like motets, anthems, and songs. With the Mass, it developed over 5 years. The bulk of my opera, at least an hour's worth of music, was written in about 4 weeks. My most frequently performed motet, Mirabile Mysterium, was written in an hour but underwent at least a week's worth of revisions. If there is an over-arching inspirational process, it is certainly based on the text that I'm setting, which as far as I am concerned, should be the be-all and end-all of choral composition.
On Thursday, Tim Powell will talk about his song inspired by JRR Tolkien and his time in Bulgaria.
Thursday, January 10, 2008
Learning from Those Who Came Before
A few weeks ago, we went to the High Museum in Atlanta (www.high.org) to see Inspiring Impressionism. This exhibition is “the first comprehensive survey to explore the influence of Old Master painters on Impressionist artists.” It juxtaposes works by artists like Monet, Cézanne and Degas with those of Titian, Rubens and Fragonard.
We spent a delightful two hours wandering through, taking note of similarities in composition and subject matter. Two of my favorites included Fragonard’s A Young Girl Reading (ca. 1776), a painting my husband and I both loved before we met, and Morisot’s In the Garden at Maurecourt (1884), with its vivid greens and the dark-eyed girl turned rather casually toward the viewer.
The artists in this exhibition studied and copied great works of art so they could eventually produce their own. American Impressionist Mary Cassatt said, “Museums are all the teachers one needs.” As I saw these 80+ works side by side, I kept thinking it was a good reminder that we can all learn from the past, from those who came before, whether our art form of choice is painting, composing, dancing, or writing.
I think it’s time for me to reread some of the classics…
Next week: a conductor/composer/scholar/director of choral and vocal studies
Note: I just started a new blog I’m really excited about called Beauty and the Beholder. On Wednesdays, I’ll be writing about the beauty around us. Check it out at my website or at www.beautyandthebeholder.blogspot.com.
We spent a delightful two hours wandering through, taking note of similarities in composition and subject matter. Two of my favorites included Fragonard’s A Young Girl Reading (ca. 1776), a painting my husband and I both loved before we met, and Morisot’s In the Garden at Maurecourt (1884), with its vivid greens and the dark-eyed girl turned rather casually toward the viewer.
The artists in this exhibition studied and copied great works of art so they could eventually produce their own. American Impressionist Mary Cassatt said, “Museums are all the teachers one needs.” As I saw these 80+ works side by side, I kept thinking it was a good reminder that we can all learn from the past, from those who came before, whether our art form of choice is painting, composing, dancing, or writing.
I think it’s time for me to reread some of the classics…
Next week: a conductor/composer/scholar/director of choral and vocal studies
Note: I just started a new blog I’m really excited about called Beauty and the Beholder. On Wednesdays, I’ll be writing about the beauty around us. Check it out at my website or at www.beautyandthebeholder.blogspot.com.
Friday, January 04, 2008
A New Look Will Soon Be Here
I'm so excited! On Monday my fabulous web designer will be working to update the blog with a whole new look. If you try to access it and can't, please come back later. It should be up and running--and bright and shiny and new--later in the day. Thanks.
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