No comments about Rings, Kings And Butterflies: Lessons on Christian Symbols for Children.

2 comments about Spaces for Spirit: Adorning the Church.

1. A wonderful approach to making art for sanctuaries, not the "bumper sticker on fabric" approach favored by so many church banner books. Some of the designs are dated, but the text will give you something to chew on. For example, she doesn't look favorably on the idea of lavish floral arrangements for altars every Sunday, saying that the altar is supposed to be a sacred space, not a florist's display window. At my church, I adapted one of her ideas using origami cranes as pieces to form a much bigger design suspended over the altar. It was hugely appreciated by the congregants of my liberal church.



2. This book will inspire you to really think about liturgical art in terms of spiritual reflection and growth, not just decoration. Ms. Chinn's work is inspiring and awesome. My only complaint was that there aren't many examples of projects in small worship spaces.

2 comments about Good Taste, Bad Taste, and Christian Taste: Aesthetics in Religious Life.

1. Frank Burch Brown is one of the star professors of my seminary. One of the things that made me select the seminary was their interest in aesthetics, the arts and theology, and by the arts, we mean a wide variety of arts -- architecture, visual arts, music, drama, and more. Frank Burch Brown does credit to this range of the arts in his text.

   First, perhaps a word on the title is fitting. By 'taste', Brown does not mean necessarily to imply preference or status in an elitism way, although well aware that this particular meaning will likely be the first one perceived. Rather, think of 'taste' as an action, something one does, like taking a bite of an apple -- art is too often a passive construct in modern society; Brown calls upon the individual or community experiencing art to participate with it. This is particularly important in church communities, whose ideas of art and the relative value of the same vary widely.

   Taste, Brown states, is something intimately connected to morality and to religious feeling and belief. One can see this demonstrated both in reactions to museum displays that are controversial as well as the critique Christians give to each other about church architecture, hymnody, or vestment and design styles.

   Brown shares in-depth theological analysis well supported and supplemented with historical information, talking about the good and the bad throughout the experience of Christendom as it relates back to modern experience. However, this is not a history text either in form or function. Perhaps the strongest section Brown presents is on music; music has become a vital piece of worship for many, sometimes the sine qua non of worship. Also, Brown's artistic background in strong in music, as he is a composer in addition to professor and writer. Music is one of the most community-building and the most divisive of elements in modern worship practice -- anyone who has dared suggest a different style of hymn in church can attest to this! In music as a case study one can see the different pieces that go into determining taste across age, culture and social lines.

   Perhaps the most novel and entertaining section is chapter five, dealing with Kitsch, Sacred and Profane -- the question of quality. In amusing but instructive fashion, Brown compares the Hagia Sophia and the early Russians' experience of it with the Precious Moments Chapel in Missouri, and how both have value but both can also be suspect in different frameworks. The difficulty of dealing with kitsch, to a large extent determined by the mass-marketability and commodity-nature of the offerings, is an instructive one; kitsch is designed to easily produce a response, often in a base or 'cheap' manner, as often occurs with the million-plus visitors to the chapel of tear-drop eyed children.

   In the final chapters, Brown offers a critique of the current situation, from which Christians of all backgrounds may draw inspiration and none escape the occasional tweak. Brown also offers a few suggestions and alternative ways of thinking about things through his observations. While this book is primarily for a Christian audience, Brown does bring in examples from other faith traditions.

   This is not a book for scholars exclusively, but those of an academic bent will appreciate the generous notes and the extensive index. However, the text is accessible and the writing style engaging such that any reader of undergraduate training or higher should have little problem with understanding. My one real disappointment with the text is that there are relatively few illustrations and figures, which in a text dealing with art and aesthetics is a bit surprising. The illustrations included fit the text perfectly, and one wonders what more could have been included to good effect.

   Take a bite.




2. Good Taste, Bad Taste, and Christian Taste, by Frank Burch Brown, a slow read at first, evolves into a very reasoned and interesting look at how the church regards the arts, and how the arts regards the church. Do not be put off by the elitist sounding title of the book. Brown uses the word "taste" as "to savor" and "to experience" much as the psalmist does in Psalm 34:8. The title is intentionally deceptive.

   Interestingly, the author utilizes the terms religious and sacred somewhat ambiguously, without clearly defining a distinction between the reality of the institutional church and the "holy". As a composer of church music himself, Brown is clearly more pragmatic in his discussion of the musical art, but resolute in an absolute consideration of other arts. His chapter on "kitsch" is especially refreshing and enjoyable to read, and his analysis of today's worship wars is well thought out and objective. One caveat concerns Brown's approach to the subject of worship itself, which is here treated as a passive event in which the worshipper is a bystander. For Brown's purposes, this may make sense, as this puts music, as an art, on the same plain as the other arts (also considered here) in which performance is not an opportunity. Worship, however, is an act of the church in which all present participate. The unique aesthetics of the participant and performer of worship and the lively arts is perhaps a subject for another book. I recommend this book highly for all church leaders: clergy and laity alike. Tragedy is, those who really need to hear the wisdom of this book, will never read it.

No comments about Dynamic Splendor: The Wall Mosaics in the Cathedral of Eufrasius at Porec.

3 comments about Architecture in Communion: Implementing the Second Vatican Council Through Liturgy and Architecture.

1. Steven Schloeder has written a book in which he attempts to capture what he describes as the 'true spirit of the Second Vatican Council' in architectural design for churches. Schloeder identifies difficulties in theology and liturgy that have, in his opinion, translated also in problem architecturally. With regard to modernism, he states, 'Many prominent Catholic thinkrs have not discerningly separated the wheat from the chaff and have accepted certain secondary issues as primary ones.' Among these are issues of the Eucharist being a sacrificial meal vs. a communal one, or the difference between the ministerial priesthood and the common priesthood of all being downplayed - these and others are issues that he discusses briefly in theological and historical terms, but quickly develops the way in which architecture shapes and is shaped by such ideas.
   
   Schloeder's vision for the book is set out in the introduction: 'Our goal is to enliven the parish community - which is the true Church built of living stones in Christ - with a material church building designed to serve and further the primary vocation to become a community of love, which must mean a people of sacrifice and redemption.' This is a constant theme throughout the entire text, always present in the spirit of the photographs, drawings, and essays.
   
   Even the structure of the book speaks of an underlying theological bent - three clusters of three chapters. The first three chapters explore issues of history, sociology, theology and liturgy with regard to the modern Catholic church building. The nature of the church is a primary consideration when considering what kind of design and structure its physical enclosure and manifestation should bear.
   
   The second cluster of three chapters look at particular architectural aspects. One chapter examines the needs of the santuary itself, another chapter more broadly at other services and sacramental needs, and the final chapter the wider considerations of the church family and its place in the community. In this later aspect, the church building can grow from being the domus ecclesiae (house church, or home of the church) to being a civitas dei (a city of God).
   
   The final three chapters look at artistic and aesthetic elements, particularly the icon; Schloeder strives to regain the iconographic aspect of the church in the community. The building itself can be a symbol and a work of art, and most certainly should be a sacramental space.
   
   Schloeder is honest about this book not being an answer book - to many of the issues he explores, he has no concrete answers to offer, but rather serves to highlight particular issues for consideration. Indeed, in the creativity of modern architecture, there are often multiple solutions to the same problems.
   
   This book has hundreds of photographs, examples of architecture modern, medieval and ancient, works of art, and outside symbols and examples. It is rather fun, for example, to see a picture of the British House of Commons chamber as an example of similar types of church architecture, then to know that the British HoC is modeled on the older structure in which the Members met in the choir stalls of a chapel.
   
   The writing is crisp and flowing, and fits very well its topic and the surrounding images. This is a good book for all those interested in architecture, church design, liturgy, and the intersection of theology with material arts.



2. ARCHITECTURE IN COMMUNION gave an excellent insight into the challenges and crises that Catholic church art has faced since the Second Vatican Council. Mr. Schloeder really understands the anguish that many traditional church artisans faced following the aftermath of the Council--when confusion seemed to leave traditional Catholic church arts at a crossroads.



3. "Architecture in Communion" is a detailed, yet highly approachable, weaving of theology, liturgy, architectural history, and iconography. Schloeder's vision for a restoration of beauty and meaning in Catholic church design is both original and solidly rooted in the traditions of the faith.

   His central premise is that Catholic church architecture is essentially "sacramental", that is to say, the material building is meant to be an icon or an image of the spiritual reality of the Church. Drawing upon sources from Scripture, the Church Fathers, architectural history, conciliar documents, canon law, and the Catechism, Schloeder shows us the symbolical language that has traditionally underpinned Catholic church design, and examines each part of the church (nave, sanctuary, altar, ambo, baptistery, etc.) with respect to its function, traditional form, symbolic meaning, and canonical status.

   The book is very nicely illustrated with over 300 photos and illustrations.

2 comments about The Gothic Image: Religious Art in France of the Thirteenth Century (Icon Editions Series).

1. The Gothic Image captures through art and architecture the spirit and elan of the medieval renaissance in ways histories and biographies cannot. Unlike today, where contemporary art and architecture either may or may not mimic our age, the Gothic Image is an imprint of its time and place. Male leaves few artifacts unturned, and explores in so many different facets of the polysemy of its age. A must for every medievalist, and gem for artists, theologians, architects, and "builders" of meaning. This highly critical reviewer gives it full accolades, and recommends all interested parties to grab this reprint before it too fades from view!



2. I can think of no better introduction, as well as comprehensive review, of the medieval renaissance than this wonderful synthesis of medieval art and medieval sacramentalism, wherein the whole universe, from stellar constellations, to the gargoyle atop cathedral buttresses, comes alive in all its many dimensions. This book, long out of print, was the gem of my undergraduate work in medieval history, philosophy, art, and architecture. The price is a bit steep, but this one book can remain a perpetual resource for insight, understanding, and knowledge of a different time and place -- so foreign and alien to today's historicity, but that captures the imagination and never lets go.

1 comments about At the Name of Jesus: The Way, the Truth, the Life.

1. What an amazingly beautiful book! The pictures are so full, you see different things, and see them differently each time you look. Both the artist's comments and the accompaning prayers are thought provoking, holy and inspiring. Surely a book to pick up, scan, read, relish over and over.

1 comments about Idols Behind Altars: Modern Mexican Art and Its Cultural Roots (Economy Editions).

1. This book is of course dated, but it's well wort the read anyways. The Mexican muralists were so deeply tied to Mexico's revolutionary culture that having a contemporary account of their place in society such as this provides a unique source for understanding the relationship between art and society in that period. Later accounts may be more objective, but it's precisely Ms. Brenner's being caught up in the times that makes the book so interesting. She knew all these people and she was in a unique position to describe the movement to the english speaking world.
   The book is very well written. Brenner is a very polished writer. Her prose is very well crafted.
   The downside to the book is that it is written before many of the most important works of artists she writes about were executed. Also her emphases at time to seem slightly askew. For example her chapter on Goitia seems rather odd given the way in which he has become such a minor figure over the intervening years.

3 comments about On the Strange Place of Religion in Contemporary Art.

1. Read this book with care! I recently took a class on religion in contemporary art. In the class, we used Elkins' book as duscussion fodder, and the general consensus was that the author's already rigidly formed ideas about the ideal placement of spirituality in contemporary art informed every story and it's explanation. Note the use of the word "spirituality" rather than "religion" in the above statement. Like most modern authors, Elkins confuses the definition of the two. This is a book about SPIRITUALITY in art, not religious influence or flavor. On the whole, the five stories contained within its pages are interesting illustrations of varying artists' methods and meanings, but in the last half of the book (where Elkins deconstructs each story from a decidedly skewed point of view) I found the explanations trite and tedious, and somewhat forced into the broader spectrum of art history. In short, read the book if you will, but read with care.



2. This book has an interesting title and an interesting cover, but that's basically where it ends. I am returning this book and I do not recommend that you buy it. The fact that Walmart also sells it should have been a give away.



3. James Elkins (Professor of Art History and Theory at the School of the Art Institute in Chicago), presents On The Strange Place Of Religion In Contemporary Art, an in-depth exploration of the complex dilemma of the modern artist concerning to what extent his art should reflect his faith. Even as art historians separate art from spirituality, the long history of art has been intertwined since long, long before the Renaissance. On The Strange Place Of Religion In Contemporary Art explores the dichotomy through the stories of five individuals, and turns over key terms and ideas scholars express when analyzing religious themes and motifs found in the art world. Highly recommended reading especially for art critics and art history students, seeking to better understand both their knowledge base and their descriptive vocabulary of the great works they view.

No comments about The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany.