Arts

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Painting or icon? That big hole in New York Times report on Catholic University controversy

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Painting or icon? That big hole in New York Times report on Catholic University controversy

Let’s start here: There is nothing new about artists painting images of Jesus as a Black man.

A few of these images may have been controversial at the time of their creation, in part because of the political motivations of some (repeat “some”) artists. But the vast majority are clearly works of Christian devotion showing reverence for the Incarnation of Jesus Christ. For many Christians, these images are way less problematic than the omnipresent Warner Sallman “Head of Christ” painting from 1940, depicting Jesus with light, wavy hair and very European features.

As an Eastern Orthodox Christian, the image of Jesus that I know best is the ancient Christ Pantocrator icon from St. Catherine’s Monastery at Mt. Sinai. It is a complex icon of Jesus that, well, would be hard to label as one of the “surfer Jesus” images in some contemporary churches.

This brings me to that New York Times story that ran the other day with this dramatic double-decker headline:

A Painting of George Floyd Roils Catholic University

At the Catholic University of America in Washington, conservative students called for a campus ban on further displays of an artwork that depicts Floyd as Jesus.

This story does a pretty good job of describing the timeline of this controversy — which is described as yet another clash over race, art and religion. It’s clear that, for the leaders of private schools, controversies of this kind are especially complex.

The problem, for me, is that the image in question — “Mama,” by Kelly Latimore — is consistently described as a painting based on the famous Pieta statue by Michelangelo.

Thus, what we have here is a “painting,” based on one of the most famous statues in Western Christian art, but is clearly meant to be interpreted as a holy icon in the Eastern Orthodox tradition.

Did you follow that? The journalism question here is whether the Times team did an adequate job of describing why the term “icon” — which does not appear in the story — is so important, if the goal is to understand the thinking of some of the Catholics (the story contains zero input from the Orthodox) who believe that this painting is blasphemous. Here is the overture:


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Notre Dame's 'woke' rebuild plan: Why the glaring lack of mainstream news coverage?

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Notre Dame's 'woke' rebuild plan: Why the glaring lack of mainstream news coverage?

Before the pandemic dominated the news cycle starting in 2020 (and continues to do so), the fire that ravaged Notre Dame in Paris in 2019 was among that year’s biggest stories.

Over the Thanksgiving weekend, the famed cathedral was once again catapulted into the news cycle — despite it being a busy few days thanks largely to the Omicron coronavirus variant — after The Telegraph, based in London, reported a scoop under the headline “Notre Dame interior faces ‘woke’ Disney revamp.”

What followed was an amazing lack of mainstream news coverage.

Here’s how the Telegraph story (behind a paywall) opened. The following is a meaty excerpt since so many of you do not have a subscription to the British newspaper:

Paris’ fire-ravaged Notre-Dame cathedral risks resembling a “politically correct Disneyland” under controversial plans for its renovation seen by the Daily Telegraph.

Critics have warned that the world-famous cathedral will be turned into an “experimental showroom” under plans to dramatically change the inside of the medieval building.

Under the proposed changes, confessional boxes, altars and classical sculptures will be replaced with modern art murals, and new sound and light effects to create “emotional spaces”.

There will be themed chapels on a “discovery trail”, with an emphasis on Africa and Asia, while quotes from the Bible will be projected onto chapel walls in various languages, including Mandarin.

The final chapel on the trail will have a strong environmental emphasis.

“It’s as if Disney were entering Notre-Dame,” said Maurice Culot, a prize-winning Paris-based architect, urbanist, theorist and critic who has seen the plans.

“What they are proposing to do to Notre-Dame would never be done to Westminster Abbey or Saint Peter’s in Rome. It’s a kind of theme park and very childish and trivial given the grandeur of the place,” he told The Telegraph.


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From Off Broadway to movie screens: The complicated conversion story of C.S. Lewis

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From Off Broadway to movie screens: The complicated conversion story of C.S. Lewis

While historians argue about what C.S. Lewis did or didn't say, it can be stated with absolute certainty that the Oxford don never patted down his rumbled, professorial tweed jacket before exclaiming, "Where's my phone?"

That line occurs at the start of "The Most Reluctant Convert," as actor Max McLean enters a movie set preparing for the first scene. Seconds later, the camera follows him into the real Oxford, England, where Lewis was a scholar and tutor at Magdalen College.

At first, the famous Christian writer explains how he became an atheist. When he walks into the real White Horse pub, he orders two pints of beer, with one for the viewer. Soon, scenes from his memories spring to life, with Lewis striding through them as a narrator.

"Lewis is in his imagination. He's personified in his thoughts. … I do think that the structure emerged out of the fact that Lewis had a lot to say," said McLean, laughing.

Thus, director Norman Stone -- a BAFTA winner for BBC's "Shadowlands" -- let the "voice of Lewis articulate his struggle, his passion. He is one of those rare individuals where one's intellect, one's emotions and one's spirituality are completely intertwined," said McLean.

All of this is second nature to McLean since the film covers much of the same territory as his own "C.S Lewis Onstage." This was a one-man show at the Fellowship for Performing Arts in New York City, an off-Broadway company McLean founded and guides as artistic director. It has staged other Lewis works, such as "The Screwtape Letters" and "The Great Divorce," drawing warm reviews from The New York Times and other major publications.

The first-person narration, explained McLean, was primarily drawn from Lewis' autobiography, "Surprised by Joy," and the many volumes of his personal letters.

The jump from stage to screen, of course, allowed the film's creators to seek permission to film in some of the most important sites linked to Lewis' life.


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That question again: What's happening to religious believers and others stuck in Afghanistan?

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That question again: What's happening to religious believers and others stuck in Afghanistan?

This is a case in which I don’t want to say, “We told you so,” but -- well — we told you so.

If you dug into this recent podcast-post — “ 'What's next in Afghanistan?' Warning: this news topic involves religion” — you’d know that the GetReligion team has been worried about what will happen to elite news coverage of human rights issues and, specifically, religious freedom, in Afghanistan under this new Taliban regime. In fact, that podcast included many themes from an earlier GetReligion podcast-post with this headline: “When the Taliban cracks down, will all the victims be worthy of news coverage?”

It appears that there are two problems.

Reality No. 1: It’s hard to cover the hellish realities of life in the new-old Afghanistan without discussing the messy exit of U.S. diplomats and troops from that troubled nation. Thus, new coverage will please Republicans, who are infuriated about that issue, and anger the White House team of President Joe Biden, which wants to move on. New coverage allows Republicans to “pounce,” as the saying goes.

Reality No. 2: There are many valid stories inside Afghanistan right now, but some are more explosive than others in terms of fallout here in America. This is especially true when dealing with stories about Americans who are still trapped there. Then there are religious believers — including Christians and members of minority groups inside Islam — who face persecution and even executions because of their beliefs. It appears that some journalism executives (and foreign-policy pros) continue to struggle with the reality that religious issues are at the heart of the Afghanistan conflict.

Thus, cases of political and religious persecution in Afghanistan are “conservative news.” For a quick overview, see this National Review piece: “In Afghanistan, ‘Almost Everyone Is in Danger Now.’ “ Note this snarky line:

The sort of headline that shouldn’t just be local news. … Those knee-jerk Biden critics over at . . . er, the Connecticut affiliate of NBC News report: “43 Connecticut Residents Still Stuck In Afghanistan.”

Here is a key chunk of that NBCConnecticut.com report:


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Friends of Friendless Churches: Trying to save sacred pieces of past in England and Wales

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Friends of Friendless Churches: Trying to save sacred pieces of past in England and Wales

The structure of St. Baglan's Church in North Wales is simple, with plastered stone walls and whitewashed timbers between the slate slabs of its roof and floor.

The 13th Century sanctuary was rebuilt in the 1800s, but the carved doorway lintel dates from the 5th or 6th century. An adjacent field contains the 7th Century well of St. Baglan and for ages the faithful sought healing in its waters.

"This church was built on the site of an earlier church and there were sanctuaries here before that. People in Wales have been coming to sites like this for worship back into pre-Christian times," said Rachel Morley, director of the Friends of Friendless Churches since 2018.

During a visit to Llanfaglan parish in Wales, this tiny, abandoned sanctuary was surrounded by sea mists and low clouds from the mountains, she said. Then the sunset light over the Irish Sea "shot under the eaves and the church lit up inside with golden light. It was a complete sensory overload. That had to mean something."

Was this church designed so that this light would illumine the prayers of evensong? That's the kind of question members of the Friends of Friendless Churches have been asking since 1957, when Welsh journalist Ivor Bulmer-Thomas founded the charity with the help of poet T.S. Eliot, artist John Piper, British politician Roy Harris Jenkins and others.

The goal was to preserve historic, "significant" churches "threatened by demolition, decay, or inappropriate conversion." By the end of 2021, the charity will control 60 churches in England and Wales, almost all of them Anglican sanctuaries.

Year after year, the Friends of Friendless Churches watch as 30 or so truly historic churches go on sale and "there could be many more closed at any time," said Morley, reached by telephone.


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Bob Dylan turns 80, while Dylanologists keep arguing about signs of faith in his art

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Bob Dylan turns 80, while Dylanologists keep arguing about signs of faith in his art

Night after night, Bob Dylan's 1979 Gospel concerts at San Francisco's Warfield Theatre made news for all the wrong reasons, according to angry fans.

The November 11th show opened with Dylan roaring into "Gotta Serve Somebody" from "Slow Train Coming," the first of what Dylanologists called his "born-again" albums.

"You may be a businessman or some high-degree thief," he sang. "They may call you doctor, or they may call you chief, but you're gonna have to serve somebody. … Well, it may be the Devil, or it may be the Lord, but you're gonna have to serve somebody."

To add insult to injury, these concerts included fiery sermons by Dylan, while he avoided classic songs that made him a legend.

"I was 19 years old and that was my first Dylan concert," recalled Francis Beckwith, who teaches Church-State Studies at Baylor University. "The atmosphere was highly charged. Some people booed or walked out. … There were people shouting, 'Praise the Lord!', but you could also smell people smoking weed."

Beckwith kept going to Dylan concerts, while following years of reports about whether the songwriter was still a Christian, had returned to Judaism or fused those faiths. These debates will continue as fans, critics, scholars and musicians celebrate Dylan's 80th birthday on May 24th.

With a philosophy doctorate from Fordham University in New York and a law degree from Washington University in St. Louis, Beckwith is certainly not a conventional music critic. He made headlines in 2007 when -- while president of the Evangelical Theological Society -- he announced his return to Catholicism.

To mark that birthday, Beckwith is publishing online commentaries on what he considers Dylan's 80 most important songs. The Top 10: "Like a Rolling Stone," "My Back Pages," "Stuck Inside of Mobile With the Memphis Blues Again," "Mr. Tambourine Man," "Visions of Johanna," "Tangled Up in Blue," "Blowin' in the Wind," "Precious Angel," "It's Alright, Ma (I'm Only Bleeding) and "Desolation Row."

Beckwith considered three factors -- popularity, lasting cultural significance and, finally, whether each song was "something I could listen to over and over." He stressed that Dylan's entire canon includes images and themes rooted in scripture and faith.


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Season 2 of 'The Chosen' arrives on TV screens on Easter. Where was the news coverage?

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Season 2 of 'The Chosen' arrives on TV screens on Easter. Where was the news coverage?

Back in the day when I was covering religion fulltime, I always knew I could score a front page story if I prepared a large feature for Easter Sunday. That was always the day that my editors were looking for “something religious” to please the church-attending readers. Other reporters did this as well, as it was one of the few days in the year that our work could shine.

Lots has changed, obviously, judging from the front pages of some of the newspapers I perused this past Easter Sunday. My former employer, the Houston Chronicle, had nothing local. Ditto for the Los Angeles Times, Seattle Times, Oregonian and even the Salt Lake Tribune –- usually reliable to at least run something Latter-day Saint related — came up short.

One bright light: Up river from the Oregonian, the Vancouver Columbian ran a huge spread Easter Day on St. Luke Productions, a Catholic theater company (that I’ve written about here and here) that’s based in southwest Washington and travels the country doing amazing portrayals of Catholic saints. See, it can be done.

A few outlets ran a pope-observes-Easter wire story from the Associated Press, but that was it. I looked at the Washington Post, which had a bit more, including a story about a local church opening up for the first time since COVID-19 started plus a piece on how pandemic-ravaged Italy is observing Easter.

The New York Times ran a mishmash of opinion pieces, including one from an English prof who wasn’t sure if Jesus had resurrected or not and one from a prof from Wheaton College urging readers to remember Easter is more than a spring celebration. There was a jewel of a piece on Jesus’ wounds and — in the Times wedding section — a beautifully photographed story about a Nigerian-American couple whose first kiss was on their wedding day. The story was snark free; a true Easter miracle.

I know it’s a challenge to come up with original Easter (and Passover) story ideas year after year, but it can be done and many of us did it.

Most of the religion content I saw yesterday was relegated to the opinion pages and kept away from news content, which is a troubling shift from religion-as-news to religion-in-the-realm-of-feelings. There’s plenty of the former available, but where’s the will to dig out those stories, especially the biggest one that happened yesterday that no one reported on?

That was the premiere of Season 2 of filmmaker Dallas Jenkins’ very successful “The Chosen” TV series. It’s the first multi-season TV series about the life of Christ, and 74,346 people raised $10 million for Season 1, which came out last year. That amount made “The Chosen” the largest crowdfunded media project –- ever.


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'Hamilton,' the prophets and liberal Catholicism: Poet Amanda Gorman took her shot

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'Hamilton,' the prophets and liberal Catholicism: Poet Amanda Gorman took her shot

After Inauguration Day, everyone was buzzing -- obviously -- about weary Sen. Bernie Sanders and his mittens, as well as Lady Gaga's massive social-distance enforcing dress. Commentators explored the socio-political importance of the various shades of purple worn by female Democrats, while Garth Brooks raised eyebrows with blue jeans and maskless-hugs of assorted presidents.

Oh, and President Joe Biden belted out an address that was Bill Clinton-esque in terms of length.

But there was no question that the day’s rising star was Amanda Gorman, the young poet in the canary-yellow coat who certainly didn’t throw away her shot. The question, for GetReligion readers, was whether there was a religion angle in her work that meshed with the rest of the Inauguration Day celebration of the Gospel according to the Religious Left.

Anyone with a computer-based device and a search engine could easily learn that the answer was, “Yes.”

As one would expect, the New York Times offered the definitive faith-free story: “Amanda Gorman Captures the Moment, in Verse.” Now, it was totally valid that the overture underlined the role that the January 6th conspiracy-theory apocalypse played in the creation of the poem. The question is whether this young Catholic woman’s faith was part of her response to it.

Two weeks ago, the poet Amanda Gorman was struggling to finish a new work titled “The Hill We Climb.” She was feeling exhausted, and she worried she wasn’t up to the monumental task she faced: composing a poem about national unity to recite at President-elect Joseph R. Biden Jr.’s inauguration.

“I had this huge thing, probably one of the most important things I’ll ever do in my career,” she said in an interview. “It was like, if I try to climb this mountain all at once, I’m just going to pass out.”

Gorman managed to write a few lines a day and was about halfway through the poem on Jan. 6, when pro-Trump rioters stormed into the halls of Congress, some bearing weapons and Confederate flags. She stayed awake late into the night and finished the poem, adding verses about the apocalyptic scene that unfolded at the Capitol. …

At one point, this Times piece came close to exploring the DNA of key passages in her poem. Of course, the “Hamilton” influence was relevant (hold that thought). Then there was this:


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New York Times digs into 'The Messiah' and finds emotions, art, politics and very little Christianity

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Gentle readers, please allow me a second moment of reflection on the challenges of secular journalists attempting to cover news stories centering on great works of sacred choral music. I have, after all, been a choral musician since I was 6-years-old and I didn’t jump into journalism until I discovered that it’s hard to major in music at a major university if one cannot play the piano.

The other day, I took a look at a New York Times feature about the unsuccessful efforts at the KIng’s College at Cambridge University to carry on — damn the coronavirus, full speed ahead — with its world-famous Christmas Eve performance of “The Festival of Nine Lessons and Carols.”

As you can tell from my snarky headline, I thought it was strange that the Times team didn’t include anything about the contents of this Anglican worship service, including the fact that the “lessons” are, in fact, lengthy passages of scripture. Thus, the headline: “New York Times asks: Did COVID shut down live festival of content-free lessons and carols?”

I didn’t expect a religion-beat story. However, I still thought it was strange (or, alas, not so strange) to completely skip over the religious intent and message of a worship service held in a chapel. After all, as noted in this Cambridge essay about the rite:

Wherever the service is heard and however it is adapted, whether the music is provided by choir or congregation, the pattern and strength of the service, as Dean [Eric] Milner-White pointed out, derive from the lessons and not the music. ‘The main theme is the development of the loving purposes of God ...’ seen ‘through the windows and words of the Bible’. Local interests appear, as they do here, in the bidding prayer, and personal circumstances give point to different parts of the service. Many of those who took part in the first service must have recalled those killed in the Great War when it came to the famous passage ‘all those who rejoice with us but on another shore and in a greater light’. The centre of the service is still found by those who ‘go in heart and mind’ and who consent to follow where the story leads.

So might these Bible passages about life, death, suffering and new hope have been relevant during the COVID-tide of 2020? Apparently, that is not a topic one could expect to read about in The New York Times.

But what about the even more famous scripture passages, images and themes in “The Messiah” by George Frideric Handel?

Surely the Times team couldn’t produce a feature story — “Meet the People Who Can’t Bring You ‘Messiah’ This Year” — about why this work is so important to listeners and performers without discussing the content of this sacred classic? Maybe a tiny splash of digital ink, like one or two paragraphs?


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