On the Strange Place of Religion in Contemporary Art by James Elkins

By James Elkins

Can modern artwork say whatever approximately spirituality? John Updike calls smooth artwork ''a faith assembled from the fragments of our day-by-day life,'' yet does that suggest that modern artwork is religious? What may it suggest to assert that the artwork you're making expresses your religious belief?

On the unusual position of faith in modern Art explores the curious disconnection among spirituality and present paintings. This e-book will assist you to stroll right into a museum and discuss the spirituality that's or isn't obvious within the paintings you see.

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Work was not very good. ) So we had privately spiritual work, like Joel’s heart shapes, and more or less antireligious work, like Brian’s iridescent Elvis photographs, and in-between work, like Ria’s ceramic house of the 14 Stations. There were also a few artists who identified themselves as religious people. One had painted a crystal palace, tall and gleaming like the outside of Emerald City in The Wizard of Oz. A dove was flying in the spacious interior, like a pigeon lost in a Gothic cathedral.

I think for the next set I’m going to just do Mylar. ” I could see there wasn’t much point in talking about religion, or ideas of any sort. Brian was clearly tired. He began to roll up the photos. That happened to me soon after I started teaching at the School of the Art Institute in Chicago. If you are not in the art world, you might be surprised that an artist can make antireligious art without ever being against religion, or even giving it a second thought. But religion fits so poorly with art that just about anything can happen.

7 Other books, such as Kathleen Regier’s Spiritual 42 On the Strange Place of Religion in Contemporary Art Fig. 12. Abraham Rattner, Study for a Crucifixion. 1950. 16. 8 One of the best-known religious writers who was also interested in modern art was the Protestant theologian Paul Tillich. He admired German expressionist painting, and when he was working in Berlin in 1919–24 he used paintings by the expressionists Emil Nolde, Ernst Heckel, and Karl Schmidt-Rottluff to illustrate how art can have spiritual value.

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