Pub Date : 2023-04-11DOI: 10.1163/15685292-02701008
{"title":"Exhibitions, Conferences, Announcements","authors":"","doi":"10.1163/15685292-02701008","DOIUrl":"https://doi.org/10.1163/15685292-02701008","url":null,"abstract":"","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1163/15685292-02701002
Yasuyo Tanaka
Abstract In 1994, I migrated to New York City to pursue my art, freedom, and potential. Over the last 27 years, I learned to understand and respect the differences of people with different values, genders, religions, and races. I continued self-transforming by looking at issues from different angles with flexible thinking. Living far away from Japan, I reaffirmed my roots and rediscovered myself objectively. It’s especially interesting to me that the relationship between Japan and the United States has been strengthened through the atomic bomb. Behind this is the influence of Shinto and Buddhism on the Japanese way of thinking. Their teachings play a major role in peace operations. In addition, the power of faith is sometimes abused, and serious social problems are occurring. “Kusudama” means medicine ball. In my Peace and Harmony Workshop , many individual participants, who all experienced the same pandemic disaster, created medicine balls while sharing our common wishes for health, long life, and peace. Faith is, to me, the power to believe in ourselves. The symbolic work of a sphere, connecting faith and art, opens up a world full of charity, not division. Looking back on what I learned through my life and artwork, I consider and write about what kind of future we hope for, and what role religion and art can play.
{"title":"Faith in Self","authors":"Yasuyo Tanaka","doi":"10.1163/15685292-02701002","DOIUrl":"https://doi.org/10.1163/15685292-02701002","url":null,"abstract":"Abstract In 1994, I migrated to New York City to pursue my art, freedom, and potential. Over the last 27 years, I learned to understand and respect the differences of people with different values, genders, religions, and races. I continued self-transforming by looking at issues from different angles with flexible thinking. Living far away from Japan, I reaffirmed my roots and rediscovered myself objectively. It’s especially interesting to me that the relationship between Japan and the United States has been strengthened through the atomic bomb. Behind this is the influence of Shinto and Buddhism on the Japanese way of thinking. Their teachings play a major role in peace operations. In addition, the power of faith is sometimes abused, and serious social problems are occurring. “Kusudama” means medicine ball. In my Peace and Harmony Workshop , many individual participants, who all experienced the same pandemic disaster, created medicine balls while sharing our common wishes for health, long life, and peace. Faith is, to me, the power to believe in ourselves. The symbolic work of a sphere, connecting faith and art, opens up a world full of charity, not division. Looking back on what I learned through my life and artwork, I consider and write about what kind of future we hope for, and what role religion and art can play.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1163/15685292-02701010
Karen Zukowski
Abstract This paper examines the Erol Beker Chapel of the Good Shepherd in St. Peter’s Lutheran Church in New York City, one of few extant immersive environments created by sculptor Louise Nevelson and the only one with explicitly Christian content. In the mid-1970s, Nevelson collaborated with Rev. Ralph Peterson, who commissioned the chapel within St. Peter’s, a new urban church in the Citicorp complex. Nevelson was able to pursue her idiosyncratic spirituality, expressed in a life-long exploration of the fourth dimension, which she considered a gateway to transformation. Peterson was able to work with “the greatest living American sculptor” on an inspirational space for meditation and ritual, for his Lutheran church dedicated to an arts and social-action ministry. The pastor and artist found common ground in the language of abstraction, creating a gleaming white space of joy and life. The paper provides a close reading of the iconography of the chapel’s sculptural components, meaning that is amplified by other designed elements, including lighting, pew arrangement, and a Nevelson-designed vestment. This paper also examines how the chapel functions in the twenty-first century as a religious space. After years of relative obscurity and benign neglect, the Chapel is today undergoing restoration and reassessment. It can once again fulfill its role as a space of radiant livingness.
本文考察了纽约市圣彼得路德教堂的好牧人埃罗·贝克教堂，这是雕塑家路易斯·内维尔森(Louise Nevelson)创作的为数不多的沉浸式环境之一，也是唯一一个带有明确基督教内容的沉浸式环境。在20世纪70年代中期，Nevelson与Rev. Ralph Peterson合作，他委托圣彼得大教堂(St. Peter 's)内的教堂，这是花旗集团(Citicorp)建筑群中的一座新的城市教堂。内维尔森能够追求她独特的灵性，表达在她一生对第四维度的探索中，她认为这是通往转变的门户。彼得森能够与“美国最伟大的雕塑家”合作，为他的路德教会致力于艺术和社会行动部门设计一个冥想和仪式的灵感空间。牧师和艺术家在抽象的语言中找到了共同点，创造了一个充满欢乐和生命的闪闪发光的白色空间。该论文提供了对教堂雕塑组件的图像的仔细阅读，这意味着其他设计元素，包括照明、长凳安排和nevelson设计的投资，放大了这些元素。本文还探讨了礼拜堂作为一个宗教空间在21世纪的功能。经过多年的默默无闻和善意的忽视，教堂今天正在进行修复和重新评估。它可以再次履行其作为一个容光焕发的生活空间的角色。
{"title":"Radiant Livingness","authors":"Karen Zukowski","doi":"10.1163/15685292-02701010","DOIUrl":"https://doi.org/10.1163/15685292-02701010","url":null,"abstract":"Abstract This paper examines the Erol Beker Chapel of the Good Shepherd in St. Peter’s Lutheran Church in New York City, one of few extant immersive environments created by sculptor Louise Nevelson and the only one with explicitly Christian content. In the mid-1970s, Nevelson collaborated with Rev. Ralph Peterson, who commissioned the chapel within St. Peter’s, a new urban church in the Citicorp complex. Nevelson was able to pursue her idiosyncratic spirituality, expressed in a life-long exploration of the fourth dimension, which she considered a gateway to transformation. Peterson was able to work with “the greatest living American sculptor” on an inspirational space for meditation and ritual, for his Lutheran church dedicated to an arts and social-action ministry. The pastor and artist found common ground in the language of abstraction, creating a gleaming white space of joy and life. The paper provides a close reading of the iconography of the chapel’s sculptural components, meaning that is amplified by other designed elements, including lighting, pew arrangement, and a Nevelson-designed vestment. This paper also examines how the chapel functions in the twenty-first century as a religious space. After years of relative obscurity and benign neglect, the Chapel is today undergoing restoration and reassessment. It can once again fulfill its role as a space of radiant livingness.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1163/15685292-02701015
Shriya Sridharan
Abstract This paper will focus on the traditional or Agamic temples of South India, to explore the reasons why women are largely absent in significant hereditary roles determining the continuation of its art and ritual practices even at present. The art/ritual practice that women are primarily associated with is kolam -making. Kolam s are geometric and abstract floor designs that are drawn by hand using impermanent materials like rice flour to mark the auspiciousness of an entryway, a festive occasion or time of the day. These are mostly done as voluntary services at temples by women in the locality, especially during festival days. The nature of this art is informal and ephemeral compared to the other codified and more permanent temple art forms, which women are not allowed to make. The limited and conditional access for female practitioners in Hindu temples is based upon restrictions constructed around the divine power, which the temple is designed to establish and maintain. This paper will study and locate the absence of women as contemporary temple art practitioners in the intersection of the meanings of being female and the meanings of Hindu temple forms and spaces.
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Pub Date : 2023-04-11DOI: 10.1163/15685292-02701014
Zainab Abdali
Abstract This paper examines the interplay of religion, nationalism, and Muslim womanhood in the work of Pakistani-American artist Shahzia Sikander. Specifically, I examine how Sikander’s work grapples with the problem of home and belonging for South Asian Muslim women in the face of religious, cultural, and nationalist discourses. These discourses characterize women as perpetual outsiders to the nation and as potential threats to the religion, while also objectifying women as symbols of purity whose bodies and sexuality must be strictly policed. For Muslim women in diaspora, the rhetoric and policies of the War on Terror compound this sense of unbelonging by characterizing Muslim women as potential threats to homeland security and as “the enemy within” due to their actual or perceived religious identity.
{"title":"Self-Rooted Belonging and “Pleasing Dislocations”","authors":"Zainab Abdali","doi":"10.1163/15685292-02701014","DOIUrl":"https://doi.org/10.1163/15685292-02701014","url":null,"abstract":"Abstract This paper examines the interplay of religion, nationalism, and Muslim womanhood in the work of Pakistani-American artist Shahzia Sikander. Specifically, I examine how Sikander’s work grapples with the problem of home and belonging for South Asian Muslim women in the face of religious, cultural, and nationalist discourses. These discourses characterize women as perpetual outsiders to the nation and as potential threats to the religion, while also objectifying women as symbols of purity whose bodies and sexuality must be strictly policed. For Muslim women in diaspora, the rhetoric and policies of the War on Terror compound this sense of unbelonging by characterizing Muslim women as potential threats to homeland security and as “the enemy within” due to their actual or perceived religious identity.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1163/15685292-02701017
Soojung Hyun
Abstract Korean-born artist Sook Jin Jo has produced a multidisciplinary array of sculptural installations for over three decades. Her primary materials consist of discarded wooden furniture, abandoned industrial materials, and trees from the natural environment. The assemblages, installations, and public art projects from these materials offer a renewed perspective on art. Sook Jin Jo broadens her philosophical interpretation of art by transforming crude objects into significant art. Her materials are taken from various resources not only to create original visual forms, but also to convey profound meaning in our everyday lives. In the context of “ Being is born of Non-Being ,” the artist’s spiritual and philosophical views are deeply connected to Taoism, which is coherent with Zen Buddhism. Meditation Space (2000) invites people to contemplate nature in a manner that resonates as a sacred space. Jo’s recent distinguished works have comprehensively synthesized the pieces she has done so far. In Art House (Art + Architecture) and Art House Chapel II (Art + Architecture) , two nondenominational chapels extend beyond institutional religions. Her work profoundly touches the meaning of spirituality and harmony that embraces the history of the sites she utilizes within the art context. Jo’s site-specific works correspond to the healing of human beings and society rather than being aligned with traditional religious beliefs.
韩国出生的艺术家Sook Jin Jo在三十多年的时间里创作了一系列多学科的雕塑装置。她的主要材料包括废弃的木制家具，废弃的工业材料和自然环境中的树木。这些材料的组合、装置和公共艺术项目为艺术提供了新的视角。Sook Jin Jo通过将粗糙的物体转化为有意义的艺术，拓宽了她对艺术的哲学解释。她的材料取材于各种资源，不仅创造了原创的视觉形式，而且在我们的日常生活中传达了深刻的意义。在“有而生无”的背景下，艺术家的精神和哲学观点与道教有着深刻的联系，这与禅宗是一致的。冥想空间(2000)邀请人们以一种与神圣空间产生共鸣的方式来思考自然。她最近的杰出作品综合了她迄今为止所做的作品。在Art House(艺术+建筑)和Art House Chapel II(艺术+建筑)中，两个非宗派的教堂超越了机构宗教。她的作品深刻地触及了精神与和谐的意义，包含了她在艺术背景下利用的地点的历史。乔的作品不是与传统宗教信仰相一致，而是与人类和社会的治愈相对应。
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Pub Date : 2023-04-11DOI: 10.1163/15685292-02701012
Sooran Choi
Abstract On 17 January 1981, during a cold Winter Day at the height of an authoritarian military regime, a group of South Korean artists named “ Baggat Misul [Outdoor Art]” gathered around a riverbank outside Seoul to interact with nature and called it “ jayeon misul [nature art].” A young woman artist Yong-sin Suh performed an act the group called “a lark,” during which Suh alternated with two male artists in reading aloud sections of newspaper articles. These unhinged, free-spirited acts were inspired by the Korean folk theater tradition of pansori (traditional Korean musical opera), and kut (traditional Korean shamanistic exorcism). Korean shamanism by way of the mudang kut rituals has historically been a Korean indigenous belief intertwined with Buddhism and Taoism and stood as a counterforce to the mainstream nationalist neo-Confucian and imperial Christian conservative legacy that oppressed women and the nonconforming gender-neutral community in South Korea. The paper analyzes the Korean shamanistic elements that were utilized in performative, conceptual, and nature art practices by South Korean artists in the post- WWII period to the present, within the framework of the intersection of Korean feminism, art activism, and shamanistic spirituality.
{"title":"Art-Kut! The Counter-Cultural and Feminist Spirituality of Shamanism in Postwar South Korean Art","authors":"Sooran Choi","doi":"10.1163/15685292-02701012","DOIUrl":"https://doi.org/10.1163/15685292-02701012","url":null,"abstract":"Abstract On 17 January 1981, during a cold Winter Day at the height of an authoritarian military regime, a group of South Korean artists named “ Baggat Misul [Outdoor Art]” gathered around a riverbank outside Seoul to interact with nature and called it “ jayeon misul [nature art].” A young woman artist Yong-sin Suh performed an act the group called “a lark,” during which Suh alternated with two male artists in reading aloud sections of newspaper articles. These unhinged, free-spirited acts were inspired by the Korean folk theater tradition of pansori (traditional Korean musical opera), and kut (traditional Korean shamanistic exorcism). Korean shamanism by way of the mudang kut rituals has historically been a Korean indigenous belief intertwined with Buddhism and Taoism and stood as a counterforce to the mainstream nationalist neo-Confucian and imperial Christian conservative legacy that oppressed women and the nonconforming gender-neutral community in South Korea. The paper analyzes the Korean shamanistic elements that were utilized in performative, conceptual, and nature art practices by South Korean artists in the post- WWII period to the present, within the framework of the intersection of Korean feminism, art activism, and shamanistic spirituality.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1163/15685292-02701011
Elizabeth S. Hawley
Abstract In 2019, Diné artist Bean (Jolene) Nenibah Yazzie and their partner, poet and Tribal health advocate Hannabah Blue (also Diné), decided to get married. Desiring a traditional Diné ceremony, they sought a medicine person who would conduct a marriage ceremony. They struggled to find one, instead experiencing the homophobic and misogynistic ramifications of settler colonialism that continue to echo in their community. As in many Indigenous cultures, pre-invasion Diné customs considered women to be powerful leaders and protectors of their communities, and these customs simultaneously accepted and even celebrated gender variance beyond the cisgender male-female binary. But with colonization came the imposition of reductive gender roles drained of both respect for women and recognition of non-binary identities.
{"title":"Diné Decolonization","authors":"Elizabeth S. Hawley","doi":"10.1163/15685292-02701011","DOIUrl":"https://doi.org/10.1163/15685292-02701011","url":null,"abstract":"Abstract In 2019, Diné artist Bean (Jolene) Nenibah Yazzie and their partner, poet and Tribal health advocate Hannabah Blue (also Diné), decided to get married. Desiring a traditional Diné ceremony, they sought a medicine person who would conduct a marriage ceremony. They struggled to find one, instead experiencing the homophobic and misogynistic ramifications of settler colonialism that continue to echo in their community. As in many Indigenous cultures, pre-invasion Diné customs considered women to be powerful leaders and protectors of their communities, and these customs simultaneously accepted and even celebrated gender variance beyond the cisgender male-female binary. But with colonization came the imposition of reductive gender roles drained of both respect for women and recognition of non-binary identities.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1163/15685292-02701006
Todd Barosky
{"title":"A Language of Things: Emanuel Swedenborg and the American Environmental Imagination , by Devin P. Zuber","authors":"Todd Barosky","doi":"10.1163/15685292-02701006","DOIUrl":"https://doi.org/10.1163/15685292-02701006","url":null,"abstract":"","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1163/15685292-02701004
Donato Loia
{"title":"Metaphysics after the Critique of Metaphysics","authors":"Donato Loia","doi":"10.1163/15685292-02701004","DOIUrl":"https://doi.org/10.1163/15685292-02701004","url":null,"abstract":"","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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