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This book explores how four contemporary artists-Francis Bacon,
Joseph Beuys, Robert Gober, and Damien Hirst-pursue the question of
death through their fraught appropriations of Christian imagery.
Each artist is shown to not only pose provocative theological
questions, but also to question the abilities of theological speech
to adequately address current attitudes to death. When set within a
broader theological context around the thought of death, Bacon's
works invite fresh readings of the New Testament's narration of the
betrayal of Christ, and Beuys' works can be appreciated for the
ways they evoke Resurrection to envision possible futures for
Germany in the aftermath of war. Gober's immaculate sculptures and
installations serve to create alternative religious environments,
and these places are both evocative of his Roman Catholic
upbringing and virtually haunted by the ghosts of his
excommunication from that past. Lastly and perhaps most
problematically, Hirst has built his brand as an artist from making
jokes about death. By opening fresh arenas of dialogue and
meaning-making in our society and culture today, the rich humanity
of these artworks promises both renewed depths of meaning regarding
our exit from this world as well as how we might live well within
it for the time that we have. As such, it will be a vital resource
for all scholars in Theology, the Visual Arts, Material Religion
and Religious Studies.
This book explores how four contemporary artists-Francis Bacon,
Joseph Beuys, Robert Gober, and Damien Hirst-pursue the question of
death through their fraught appropriations of Christian imagery.
Each artist is shown to not only pose provocative theological
questions, but also to question the abilities of theological speech
to adequately address current attitudes to death. When set within a
broader theological context around the thought of death, Bacon's
works invite fresh readings of the New Testament's narration of the
betrayal of Christ, and Beuys' works can be appreciated for the
ways they evoke Resurrection to envision possible futures for
Germany in the aftermath of war. Gober's immaculate sculptures and
installations serve to create alternative religious environments,
and these places are both evocative of his Roman Catholic
upbringing and virtually haunted by the ghosts of his
excommunication from that past. Lastly and perhaps most
problematically, Hirst has built his brand as an artist from making
jokes about death. By opening fresh arenas of dialogue and
meaning-making in our society and culture today, the rich humanity
of these artworks promises both renewed depths of meaning regarding
our exit from this world as well as how we might live well within
it for the time that we have. As such, it will be a vital resource
for all scholars in Theology, the Visual Arts, Material Religion
and Religious Studies.
The church and the contemporary art world often find themselves in
an uneasy relationship in which misunderstanding and mistrust
abound. On one hand, the leaders of local congregations,
seminaries, and other Christian ministries often don't know what to
make of works by contemporary artists. Not only are these artists
mostly unknown to church leaders, they and their work often lead
them to regard the world of contemporary art with indifference,
frustration, or even disdain. On the other hand, many artists lack
any meaningful experience with the contemporary church and are
mostly ignorant of its mission. Not infrequently, these artists
regard religion as irrelevant to their work, are disinclined to
trust the church and its leaders, and have experienced personal
rejection from these communities. In response to this situation,
the 2015 biennial conference of Christians in the Visual Arts
(CIVA) facilitated a conversation between these two worlds. This
volume gathers together essays and reflections by artists,
theologians, and church leaders as they sought to explore
misperceptions, create a hospitable space to learn from each other,
and imagine the possibility of a renewed and mutually fruitful
relationship. Contemporary Art and the Church seeks common ground
for the common good of both the church and the contemporary art
world. The Studies in Theology and the Arts series encourages
Christians to thoughtfully engage with the relationship between
their faith and artistic expression, with contributions from both
theologians and artists on a range of artistic media including
visual art, music, poetry, literature, film, and more.
Christian Studies I Teacher Manual, Second Edition
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