Short-listed for the Art and Christian Enquiry/Mercers International Book Award 2009: a book which makes an outstanding contribution to the dialogue between religious faith and the visual arts . What does modern Jewish art look like? Where many scholars, critics, and curators have gone searching for the essence of Jewish art in Biblical illustrations and other traditional subjects, Rosen sets out to discover Jewishness in unlikely places. How, he asks, have modern Jewish painters explored their Jewish identity using an artistic past which is by and large non-Jewish? In this new book we encounter some of the great works of Western art history through Jewish eyes. We see Matthias Grunewald s Isenheim Altarpiece re-imagined by Marc Chagall (1887-1985), traces of Paolo Uccello and Piero della Francesca in Philip Guston (1913-1980), and images by Diego Velazquez and Paul Cezanne studiously reworked by R.B. Kitaj (1932-2007). This highly comparative study draws on theological, philosophical and literary sources from Franz Rosenzweig to Franz Kafka and Philip Roth. Rosen deepens our understanding not only of Chagall, Guston, and Kitaj but also of how art might serve as a key resource for rethinking such fundamental Jewish concepts as family, tradition, and homeland.

Imagining Jewish Art: Encounters with the Masters in Chagall, Guston, and Kitaj

Sight is both celebrated and denigrated in religion. In some contexts it is extolled as a source of knowledge and revelation. In others it is demonized as the road to illusion and idolatry. There is no single way that sight functions in religion, nor indeed a single way to study it. This edited volume brings together scholars from a wide range of disciplines-religious studies, anthropology, art history, film, and philosophy- to shed light on how the sense of sight shapes, and is shaped by, religion. Case studies range across both place and time, from narratives about Medusa in ancient Greek religion to spiritual explanations of sleepwalking in the Enlightenment to rituals of spirit possession in contemporary Brazil. In order to shed light on interconnected issues, the essays are grouped into three sections, moving thematically from darkness into light: 1) Obscurity 2) Altered States 3) Illumination. The contributors seek to avoid some of the historical pitfalls of Western discourses that hierarchize the senses, and in particular privilege and separate sight from the other senses, imagining it as an unimpeachable source of empirical knowledge. They present the ways in which sight transgresses such constructions, whether by being creatively misleading or taking on tactile qualities. Viewed in the context of lived religious experience, sight surfaces in multiple, unbounded ways. In a theoretically rich and self-reflective introduction, the volume editors set the stage by asking questions at the core of our discipline: What do we see, and-just as importantly-how do we see, when we study religion?

"When you're in New York" the sculptor Louise Nevelson once said, "you're in perpetual resurrection." She might have said the same thing about St. Peter's Lutheran Church, set in the heart of midtown Manhattan. In the 1970s the church made a radical move, scrapping its neo-gothic building for a sleek modern structure in the shadow of a skyscraper. The transformation was not just architectural. Inside, Nevelson created a shimmering chapel, while over the years artists and designers such as Willem de Kooning, Kiki Smith, and Massimo and Lella Vignelli produced works for the sanctuary. This fusion of modern art, architecture, and design was complemented by an innovative jazz ministry, including funerals for Billy Strayhorn and John Coltrane, and performances by Duke Ellington and other jazz legends. For the first time, this volume examines the astounding cultural output of this single church. Just as importantly, the story of St. Peter's serves as a springboard for wider reflections on the challenges and possibilities which arise when religion and art intersect in the modern city. Working from a wide range of disciplines, including art history, theology, musicology, and cultural studies, a distinguished group of scholars demonstrate that this church at the center of New York City deserves an equally central place in contemporary scholarship.

Imagine having 5,000 years of human history's most amazing artworks at your fingertips! Go on a trip through the famous Metropolitan Museum of Art without ever leaving your home! Prepare to explore the treasures of the world's civilisations-from ancient Egyptian amulets, Mayan jewellery, and prehistoric tools-to Medieval tapestries, Renaissance suits of armour, and modern-day baseball cards. Each page brings you closer to the past as you learn about the people of different ages through the objects they left behind. Discover hand-picked highlights of the museum's huge collection as you travel through history, one incredible object at a time. This book combines exclusive Met photography with colourful and quirky illustrations in a resource that parents can trust, with a design that kids will love. © The Metropolitan Museum of Art, New York

"When you're in New York" the sculptor Louise Nevelson once said, "you're in perpetual resurrection." She might have said the same thing about St. Peter's Lutheran Church, set in the heart of midtown Manhattan. In the 1970s the church made a radical move, scrapping its neo-gothic building for a sleek modern structure in the shadow of a skyscraper. The transformation was not just architectural. Inside, Nevelson created a shimmering chapel, while over the years artists and designers such as Willem de Kooning, Kiki Smith, and Massimo and Lella Vignelli produced works for the sanctuary. This fusion of modern art, architecture, and design was complemented by an innovative jazz ministry, including funerals for Billy Strayhorn and John Coltrane, and performances by Duke Ellington and other jazz legends. For the first time, this volume examines the astounding cultural output of this single church. Just as importantly, the story of St. Peter's serves as a springboard for wider reflections on the challenges and possibilities which arise when religion and art intersect in the modern city. Working from a wide range of disciplines, including art history, theology, musicology, and cultural studies, a distinguished group of scholars demonstrate that this church at the center of New York City deserves an equally central place in contemporary scholarship.

Sight is both celebrated and denigrated in religion. In some contexts it is extolled as a source of knowledge and revelation. In others it is demonized as the road to illusion and idolatry. There is no single way that sight functions in religion, nor indeed a single way to study it. This edited volume brings together scholars from a wide range of disciplines-religious studies, anthropology, art history, film, and philosophy- to shed light on how the sense of sight shapes, and is shaped by, religion. Case studies range across both place and time, from narratives about Medusa in ancient Greek religion to spiritual explanations of sleepwalking in the Enlightenment to rituals of spirit possession in contemporary Brazil. In order to shed light on interconnected issues, the essays are grouped into three sections, moving thematically from darkness into light: 1) Obscurity 2) Altered States 3) Illumination. The contributors seek to avoid some of the historical pitfalls of Western discourses that hierarchize the senses, and in particular privilege and separate sight from the other senses, imagining it as an unimpeachable source of empirical knowledge. They present the ways in which sight transgresses such constructions, whether by being creatively misleading or taking on tactile qualities. Viewed in the context of lived religious experience, sight surfaces in multiple, unbounded ways. In a theoretically rich and self-reflective introduction, the volume editors set the stage by asking questions at the core of our discipline: What do we see, and-just as importantly-how do we see, when we study religion?

In the first book of its kind, Aaron Rosen tells the story of how art developed across the world. He takes young readers on a journey through art history, from the Palaeolithic period to the present day, stopping off at thirty different locations around the world. As readers travel from one incredible destination to the next, they will discover the remarkable network of caves carved into the rock in ad 500 at Ajanta, India; Cambodia's remarkable Angkor Wat as it stood in ad 1200; the glories of Renaissance Florence in ad 1500; and the remarkable energy in New York in the 1950s. At every stop-off point readers will encounter stories of astonishing artworks and the cultures that gave birth to them. There are three sections: prehistoric and ancient; medieval and early modern; and modern and contemporary. At each location, two beautifully illustrated spreads allow children to engage with the art, artifacts and culture of a unique place in time. Along the way, key movements and ideas are picked out and explained for a young audience. A Journey Through Art is the perfect companion for young explorers of the world's cultural history

This ground-breaking book contains contributions from 12 different religious traditions: Hinduism, African Traditional Religion, Judaism, Jainism, Buddhism, Zoroastrianism, Shintoism, Christianity, Islam, Sikhism, Unitarianism and Baha'i. Interfaith worship and prayer can be complex, but this book demonstrates that in a world of many cultures and religions, there is an urgent need for religions to come together with trust and communication, especially when there is a crisis. Full of insights and examples of practice, the book demonstrates how religions can be a powerful means of unity and compassion. The book opposes the 'clash of civilisations' model as a way of interpreting the world and promotes peace, hope, and the possibility of cooperation. Religious believers can be sincere and committed to their own faith, while recognising the need to stand firmly together with members of other religious traditions.

William Blake famously imagined 'Jerusalem builded here' in London. But Blake was not the first or the last to visualise a shimmering new metropolis on the banks of the River Thames. For example, the Romans erected a temple to Mithras in their ancient city of Londinium; medieval Londoners created Temple Church in memory of the Holy Sepulchre in which Jesus was buried; and Christopher Wren reshaped the skyline of the entire city with his visionary dome and spires after the Great Fire of London in 1666. In the modern period, the fabric of London has been rewoven in the image of its many immigrants from the Caribbean, South Asia, Eastern Europe and elsewhere. While previous books have examined literary depictions of the city, this is the first examination of the religious imaginary of the metropolis through the prism of the visual arts. Adopting a broad multicultural and multi-faith perspective, and making space for practitioners as well as scholars, its topics range from ancient archaeological remains and Victorian murals and cemeteries to contemporary documentaries and political cartoons.