Costly Gestures

The Whitney Biennial in New York City is a significant exhibition of important contemporary art in this country. Like its counterparts in other communities, the Whitney exhibition showcases the talents of curators (those who select and present the art) and artists who are starting new threads in the visual arts conversation.

This year the artist Ellen Harvey was included in the Whitney Biennial. One recurring theme of Harvey’s work is the exploration of the interplay between art and different environments. In one work of art she installs mirrors on a set of windows that are etched to portray the scene outside invaded by rampant nature as if the city had been abandoned. In another set of pieces, she used chalk to incorporate the appearance of beautiful carpets on the surface of the grey sidewalks in an urban environment. Her work outside of the gallery walls helps us see what was there before and question our acceptance of things that lack the visual vitality of color, pattern, and decorative life giving. We are forced to ask why we accept the harsh mediocrity of so many city landscapes.

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Tags | Art

CDs and Books and Massive Anxiety Attacks, Oh My

There is a lot of talk these days about the perilious future of both recorded music and book publishing. As a recording artist and author, I furrow my brow in the general direction of both topics. I was intriguiged by this recent article by music journalist Chet Flippo. He refers to a "massive anxiety attack" that has plagued the music industry for some time and discusses specifically his concerns that commercial uncertainty is breeding an artistic insecurity that is robbing recording artists of their "mojo". (I think one can draw some parallels to what is happening to many authors in the world of book publishing as well.)

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Tags | Music

August Reviews

Truckin' through August, rounding up summer's dying embers:

Brideshead Revisited is a luxuriously heavy exercise in passionate glances and tacit emotion from the other side of the pond (think of last year’s Atonement and you’ll be in the right neighborhood) directed by Julian Jarrold. By muting the Catholicism of Waugh’s novel, the film doesn’t have a compelling reason to exist—the class struggles are no longer relevant, and the “enlightened” depiction of a gay character, while tactfully handled, is a touch self-congratulatory. Emma Thompson easily dominates her scenes as Lady Marchmain, and Patrick Malahide is grossly convincing as the protagonist’s unfeeling father (first glimpsed playing chess with himself).

Pineapple Express is a likeably scrappy (or scrappily likeable) stoner comedy, at least for a spell. After a promising start, the freewheeling plot turns transparently formulaic, culminating in an overlong gun battle in a lone warehouse. The inspired pairing of Seth Rogan and James Franco (with Danny McBride shuffled in as a wildcard) reaps modest rewards, but it’s Craig Robinson’s performance as a sissyish hired goon that pries open the barrel of laughs. Produced by Judd Apatow (who else?) and directed by David Gordon Green, who once possessed something approaching a personal style.

Tags | Film

The Curator

Today marks the launch of a brand-new web publication called The Curator. You can find it at

Here's the mission statement:

The Curator is a web publication of International Arts Movement (IAM), which announces the signs of a “world that ought to be” as we find it in our midst, and seeks to inspire people to engage deeply with culture that enriches life and broadens experience.

In keeping with IAM’s belief that artistic excellence, as a model of “what ought to be”, paves the way for lasting, enduring humanity, The Curator seeks to encourage, promote, and uncover those artifacts of culture – those things which humans create - that inspire and embody truth, goodness, and beauty.

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Experiencing Makoto Fujimura

I have the privilege of working with Makoto Fujimura at International Arts Movement. Recently, Mako had an exhibition, "Charis," at Dillon Gallery in Chelsea (Manhattan). Below is something I wrote the morning after the exhibit's opening, when I went back alone.

The exhibit ended on August 3. However, Mako's work is always on display at Dillon, so if you are in NYC, be sure to make time to visit the gallery.


Sitting on a split wooden bench, facing one of three monumental gold compositions in Makoto Fujimura's current "Charis" exhibit at Dillon Gallery, I am finally able to actually spend time with the work. This, I realize, is the only way to see a Makoto Fujimura painting. I was at the opening reception last night, but as I sit here now, it occurs to me that I did not see any of the paintings at that time, because it is impossible to "see" a Makoto Fujimura painting in a room full of people and noise and wine. Last night the room was buzzing with Fujimura friends and aficionados, merlot in one hand, CV in the other. The reception was about celebrating the show itself, and the man who created it – and even the gallery exhibiting it. But to truly see the work, one must come, as I am now, alone.

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International Arts Movement

On August 1, I celebrated my one year anniversary at International Arts Movement, where I am on staff as Director of Development and Public Relations. IAM is like no other organization I have ever worked for, or ever known for that matter.

Founded in 1991 by Makoto Fujimura, IAM is a non-profit arts organization that gathers artists and creative catalysts from all over the world to wrestle with the deep questions of art, faith and humanity. We aim to inspire the global creative community to use their gifts, talents and intellect to engage with the culture that is, with all its ugliness and flaws and broken beauty, in order to create the world that ought to be - a world where truth, goodness, beauty and love are the norm, and pain, brokenness and sin are the exception.

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Prayer Through Art: James Turrell

Images have invaded our modern lives with a vengeance. This onslaught of images competes with our word life. Sometimes it seems as if words are losing in this battle for the devotion of our eyes. Have images invaded the blank canvas of your prayer life? Are you looking for a sensory accessory to your prayers?

Consider James Turrell.

Born in 1943 in Pasadena California, James Turrell is an internationally recognized artist that works with light and space. His life work has culminated in a "slow art" project excavating a crater in Arizona, Roden: a permanent installation of light and space carved into the rock.

My first experience of James Turrell's work occurred in the Indianapolis Museum of Art. In the contemporary art section of the museum there is a dark hallway that connects two galleries. Halfway between the galleries is a small dimly lit room with a simple gray painting on the far wall. The first time I peeked in, I kept going befuddled. Yet, the oddity of the room caused me to rethink my quick dismissal. Why is a gray painting in that dimly lit room? After entering the room for a second look, a guard entered behind me and whispered, "touch it". Somewhat surprised, but curious, I walked slowly towards the wall and reached out my hand. To my sensory surprise, my hand passed through the wall into an empty space, that in that moment, I can only describe as beyond. The gray painting was actually a hole in the wall leading to a grey room beyond. The transition between the two rooms was obscured by a razor sharp edge and strategic use of dim light.

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Tags | Art

Time Bandits as the Postmodern Articulation of Good & Evil

I have seen Terry Gilliam’s film Time Bandits (1981) about a hundred times. I first saw it when I was in grade school and it just sort of stuck with me. About a week ago I sat down to re-watch it with a new set of eyes and my godson next to me who is a near expert in film analysis. What took place was amazing.


WARNING, THIS CONTAINS SPOILERS! So if you haven’t seen the film, you can see it here first


Gilliam’s film was before its time. He pits the classic forces of good vs. evil against each other in a British, Monty Python sort of way. Time Bandits illustrates the classical issues of:


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Tags | Film

Leaving the Church from his perspective

August 2, 2008

the difference between names and faces is completely fascinating.  I can go my whole day and see a hundred faces. Where I get my morning coffee; it's the same barista, the audience is the same as we play out a joke we seem to have played so many times before this moment.  I feel connected to that person, yet i do not know his name.  if i saw him, not in the uniform of black and white and that silly hat, i may not know why i know them, but I would register that somehow i do.  would i recognize him quicker if i knew his name?

all of this is going through my head as I am lazily standing around sipping my coffee.  its about 8:30 and the day has begun.  nothing much has changed, and i woke up with that same feeling of insignificance as i had the morning before, and the one before that, and the one...

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Tags | Writing

T.S. Eliot on Christian Literature

I wrote a paper on Catholicism, Protestantism, and the novel in early twentieth-century England a couple weeks ago, and in my reading, I ran across this intriguing exerpt from T.S. Eliot's essay "Religion and Literature":
It is our business, as readers of literature, to know what we like. It is our business, as Christians, as well as readers of literature, to know what we ought to like. It is our business as honest men not to assume that whatever we like is what we ought to like; and it is our business as honest Christians not to assume that we do like what we ought to like. And the last thing I would wish for would be the existence of two literatures, one for Christian consumption and the other for the pagan world.
Tags | Writing
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