True and proper worship

Here's the reflection that I shared at St Andrew's Wickford this morning:

Jesus taught that the first and greatest commandment is to love the Lord your God with all your heart and with all your soul and with all your mind (Matthew 22:36-40).

Our readings today show us some of the ways in which we can do that.

In Revelation 4 we read that “whenever the living creatures give glory and honour and thanks to the one who is seated on the throne, who lives for ever and ever, the twenty-four elders fall before the one who is seated on the throne and worship the one who lives for ever and ever; they cast their crowns before the throne, singing,

‘You are worthy, our Lord and God,
to receive glory and honour and power,
for you created all things,
and by your will they existed and were created.’

This picture of worship in heaven shows us everything that exists kneeling before God. “The Hebrews regarded the knees as a symbol of strength, to bend the knee is, therefore, to bend our strength before the living God, an acknowledgment of the fact that all that we are we receive from Him. In important passages of the Old Testament, this gesture appears as an expression of worship.” 

The word worship comes from an Old English word, worthship, and it literally means “to give something worth—to demonstratively attribute value, especially to a deity or god." (Zach Neese, How to Worship a King). Worship is putting the value you hold for something on display. Just like a groom saves up money to buy his future bride an engagement ring, worship says "you are worth this sacrifice." When we worship God, we demonstrate how important He is to us and bending our knees before the living God in acknowledgment that all that we are we receive from Him is one of the ways in which we can do so. 

As believers, however, there are so many ways to worship God. We can worship God through song, as we see happening in Revelation 4 and as Psalm 150 encourages us to do. Psalm 150 ends by saying, “Let everything that has breath praise the Lord” and demonstrates that by encouraging us to use a great array of instruments – as many as we can – in worshipping him:

Praise him with the sounding of the trumpet,
praise him with the harp and lyre,
praise him with timbrel and dancing,
praise him with the strings and pipe,
praise him with the clash of cymbals,
praise him with resounding cymbals.

“But we can't stop there. Worship is much more than a song; it's a lifestyle. Giving our time is worship, whether it's serving in church or out in the community. Being generous with our finances is worship. Obeying the Holy Spirit’s prompting is worship. Choosing Jesus even when we don't feel like it is worship. It’s all worship.”

Our Gospel reading (Luke 19.11-27) encourages us to use our gifts and talents in God’s service as an act of worship. In the story of the Ten Pounds, what is criticised by Jesus is sitting on our gift and doing nothing with it. In the story the person who fails wraps the pound in a cloth and does nothing with it in order to give it back to the master safe and sound. Doing nothing with our gifts, even if our intent is that we don’t damage or harm our gifts is not good enough, is not worship. Instead, they are to be used, even if we make mistakes in doing so. In the story ten slaves are given ten pounds. Then, we hear what has been done with their gifts by three of the slaves. Two have made more money from their pound and one has kept theirs. What happened with the other seven? We don’t know. It may be that they lost money through their activity but at least they tried, unlike the slave who did nothing. The outcome of our activity is not as important as the attempt. In trying to make use of our gifts we are honouring the one who gives them to us, while by choosing not to use them, we are not.

St Paul wrote that we are to be “a living sacrifice, holy and pleasing to God” as that is our “true and proper worship” (Romans 12.1-3). We can do so as we sing, as we kneel, as we acknowledge God as the giver of all we have, and as we use the gifts he has given in his service. In these ways, we are loving the Lord our God with all our heart and with all our soul and with all our mind. May it be so for each one of us. Amen.

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Martin Smith - Joy (What The World Calls Foolish).

Coping in crises

Here's the sermon I shared this morning at St Chad’s Vange:

This church has stood here in Vange since 1958. However, it has not aged well and there are, as you are well aware, numerous issues with the fabric of the building. Therefore, if I was to predict that soon every part of this Church would be torn down so that not one stone would be left standing on another, you may well not be particularly shocked or disappointed. However, for those listening to Jesus as he spoke about the Temple in Jerusalem, it was a very different story (Mark 13: 1-8).

Jesus and his disciples had gone to the Temple in Jerusalem and were leaving when one of the disciples remarked on what a magnificent building the Temple was. Jesus’ response was to predict that it would shortly be completely and utterly destroyed. The Temple, at that time, was central to the whole Jewish faith. What Jesus was saying was that the whole way in which Judaism was practised at that time was going to be destroyed. A whole way of life wiped out. It was a shocking claim about a major crisis.

Mark records this for us because what Jesus predicted actually happened. In AD70 Titus, the adopted son of the Roman emperor Vespasian, “entered Jerusalem, burnt the Temple, destroyed the city and crucified thousands of Jews” (Wright). For Mark the fulfilment of Jesus’ prophecy, although a disaster for all those caught up in it, was the final vindication of all that Jesus had said and been and done. In that day, he says in verse 26 of this chapter, men will see the Son of Man coming in clouds with great power and glory. In other words, people will realise that Jesus was who he claimed to be, the Messiah. The destruction of the Temple was proof that Jesus had spoken and acted truly.

We know from history that the destruction of the Temple also meant that Christians in Jerusalem had to flee the city and settle in other parts of the world. They took the message of Jesus with them wherever they went. So as a result of this crisis, news about Jesus spread throughout the region and eventually to the whole world. Truly, people saw the power and glory of the Son of Man.

But Jesus also knew what a terrible day that day would be and he prepared those who listened to him for that day. At the end of this chapter we read of him saying that no one will know the exact day or time when this disaster would come but that it would be within their own lifetimes and he taught them to look for the signs that the day was arriving so that could be ready to flee the city. He tells them to be ever vigilant and watchful so that they recognise when the crisis has come upon them.

So Jesus predicts a crisis, prepares his followers for that crisis and sees that the crisis will lead to the good news about him being understood and believed.

But that was all then. What does this passage say to us now? Well, we all still face crises whether they are personal crises (perhaps caused by crime or redundancy, abuse or family breakdown) or societal (as with global warming, natural disasters, riots or war). How should we react and respond to crises?

There is a realism about Jesus’ teaching. Crises will come, he says. We don’t know exactly when and where but we know that we will not go through life and avoid crises. So first, we need to expect crises and look out for the signs that they may be coming. Jesus in this chapter retells the story of the master going away and says that we need to be like watchmen always ready for the crisis of the master’s return. As we prepare during Advent to celebrate Christ’s first coming, so we must also always have an eye to the future and Christ’s return to bring his kingdom rule and reign throughout the world. Are we looking expectantly for the crisis of our Master’s return?

Second, we need to prepare for crises by being good stewards. Jesus in the story of the master going away said that the servants were left in charge. We know from the parable of the talents what this involves, the servants are to care for and use all that has been entrusted to them so that when the master returns his estate has grown and developed. God has entrusted us with his world, with those people who are our family, friends and colleagues, with money and possessions, and with our gifts and talents and abilities. All these we are to use for his praise and glory as a way of giving back to God in praise and thanksgiving for all he has given to us.

Finally, in crises God is revealed. At some point in the future each of us will meet with God and be asked to account for the use we have made of all that God has given to us. How will we stand in that moment of crisis? But in every crisis that we face God is alongside us and wishes to be known as the one who strengthens and supports us; the one who brings us through. Just as the good news about Jesus went out from Jerusalem as a result of the destruction of the Temple, so in each crisis that we face God wishes to bring good for us and for others. As Paul says, “We know that in all things God works for the good of those who love him.” May it be so for each one of us. Amen.

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Mahalia Jackson and Nat King Cole - Steal Away.

You'll never walk alone

Here's the sermon I shared this morning at St Mary Magdalene Great Burstead:

I wonder if you knew that You’ll Never Walk Alone, along with other songs from musicals, has been included as a hymn in the BBC’s hymn book. Ian Barclay commenting on this in The Guardian wrote that the Songs of Praise programme producers have come to realise that secular songs from shows have taken on some on the status of folk hymns, addressing the spiritual and pastoral needs of many people. Taken out of its context in Carousel, where it is sung by a dead father who has returned to life for one day to the daughter he never knew, it can be sung as a statement of belief that, as Psalm 23 states, God will be with us as we walk through the valley of the shadow of death or through the storms of life.

When you walk through the storm
Hold your head up high
And don't be afraid of the dark
At the end of the storm
There's a golden sky
And the sweet silver song of the lark

Walk on, through the wind
Walk on, through the rain
Though your dreams be tossed and blown
Walk on, walk on, with hope in your heart
And you'll never walk alone
You'll never walk alone

Our Gospel reading (Matthew 8: 23 – end) speaks about two storms and two different ways in which God is with people in those storms. The disciples in the boat on Lake Galilee experienced a literal storm but they were also caught up in an event of set of external circumstances that were beyond their control. And that is probably the most common way in which we experience storms within our own lives.

Circumstances conspire to bring illness or redundancy or debt or breakdown in relationships. We may have made choices that have contributed to the situation – just as the disciples made the choice to go out in the boat – but we end up by finding ourselves in circumstances that are beyond our control and which threaten to overwhelm us.

The storm in the story of the two men in Gadara is different because for them the storm is not external but internal. Many of us experience periods of mental ill health when we feel overwhelmed by feelings and emotions, fears and anxieties which rage inside and threaten to overwhelm us. For some of us, the storm of those emotions becomes a more permanent feature of our lives and begins to affect the way in which we relate to others and the extent to which we are able to participate in society. For some, too, the things we use initially to bring some relief from those emotions – drink, drugs, sex, violence – also end up controlling our reactions and responses and ultimately change who we are as people. The two men in this story seem to have been experiencing that kind of internal storm.

We tend to think of storms as something to avoid, something to hide or shelter from but in both of these stories God is there in the storm. Although the storm is stilled on the lake and the internal storm released from the men in Gadara, the encounter with God takes place in the storm. To encounter God, we often need to be in the storms of life. And the God that we encounter in the storms of life goes with us through those storms until we find ourselves on the other side. That is the promise of You’ll never walk alone and of Psalm 23; even though we walk through the valley of the shadow of death, we will fear no evil, for God is with us; his rod and your staff, they comfort us.

The God that we encounter in the storm can release the internal storm from with us. In times of crisis and distress we often keep our emotions bottled up inside us until eventually they explode in anger and violence. The God that we meet in the storm can be an escape valve, the person that we can always turn to, the one who is always there to listen and with whom we can pour out all those pent-up emotions releasing the storm within.

The God that we encounter in the storm is also able to still the storm of external circumstances. He holds that power and that is what we often long when we are caught up in the storms of life. I experienced that power after my younger brother Nick died in the crash of a UN plane in Kosovo. With the families of others who had died I was flown to the crash site and saw the scattered and shattered pieces of the plane on the mountainside. That terrible moment brought home the physical reality of what had happened to my brother. It was the height of the storm for me. On landing again at Pristina Airport I was met by some of the people from Tear Fund with whom Nick had been working in Kosovo to rebuild homes destroyed in the fighting there. They told me stories of the impact that Nick had had on their lives and the lives of the Kosovan people with whom they had worked. As we talked and cried together, God brought an assurance into my heart that he had welcomed Nick into his presence with the words, “Well done, my good and faithful son” and in this way I knew the stilling of the storm.

The God that we encounter in the storm is also able to still the storm of external circumstances. And yet, Jesus was disappointed with the reaction of disciples in the storm on Lake Galilee. “How little faith you have,” is what he said to them. What would have happened if they had had more faith? It is likely that they would have rode out the storm in trust that God would see them through. It is likely that Jesus was asleep in the boat not because he didn’t care about their dilemma but because he trusted that God would go with them through the storm and wanted them to have that same trust too.

We may be in the middle of some storm ourselves today as we sit and listen. We may need the internal storm in our lives to be released in peace. We may have come through storms in our lives but still be bearing the scars or wondering where God was at that time. We may need to take this message to our hearts because there are storms on the horizon. If that is so, we need to know in our hearts that we do not walk alone. That if we look for him we will see God going with us through the storm. That if we trust him we will come to that place of peace where the storm clouds have blown over and we see the golden sky and hear the sweet, silver song of the lark.

Let us pray that we will recognise God with us in the storms of our lives asking for the faith to come through the storm, for release of our internal storms, and for the stilling of our external storms. May it be so for each one of us. Amen.

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Katherine Jenkins - You'll Never Walk Alone.

Online exhibitions and visual meditations

Here's an update about the online exhibitions I have curated with the Ben Uri Gallery and the Visual Commentary on Scripture. These include visual meditations on the artworks included. I have also written visual meditations for ArtWay, so these are also included in this post. 

I have curated an online exhibition for the Ben Uri Gallery which is entitled Exodus & Exile: Migration Themes in Biblical Images. The exhibition includes a range of Biblical images from the Ben Uri Collection in order to explore migration themes through consideration of the images, the Bible passages which inspired them and the relationship between the two. This is because themes of identity and migration feature significantly in both the Hebrew and Christian Bibles and images from these Bibles are a substantive element of the Ben Uri Collection.

The combination of images and texts enables a range of different reflections, relationships and disjunctions to be explored. The result is that significant synergies can be found between the ancient texts and current issues. In this way, stories and images which may, at first, appear to be describing or defining specific religious doctrines can be seen to take on a shared applicability by exploring or revealing the challenges and changes bound up in the age-old experience of migration.

The Gallery said: "We are delighted to present a new exhibition interpreting works from our collection titled Exodus and Exile. The survey has been curated by Revd Jonathan Evens who has a long-established parallel interest in art and faith and how they are mutually engaging. We are privileged to benefit from his scholarship and innate sensitivity and am sure you too will be inspired by his selection and commentary."

Alongside the exhibition is an essay Debt Owed to Jewish Refugee Art, an updated version of an article I originally wrote for Church Times looking at influential works by émigré Jewish artists that were under threat. The article mentions Ervin Bossanyi, Naomi Blake, Ernst Müller-Blensdorf, Hans Feibusch, and George Mayer-Marton, telling stories of the impact of migration on the work and reputations of these artists.

Following the launch of the exhibition, I wrote an article 'How the incomer’s eye sees identity' for Seen and Unseen explaining how curating an exhibition for the Ben Uri Gallery & Museum gave me the chance to highlight synergies between ancient texts and current issues.

I have also curated three exhibitions for the Visual Commentary on Scripture. My first exhibition for the VCS is Back from the Brink on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition is A Question of Faith and explores Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition is Fishers of People | VCS (thevcs.org). This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

ArtWay's visual meditations are devoted to one work of art, old or new, made by a Christian artist or not, from Europe, North-America or another part of the world. They advocate a thoughtful engagement with art and culture over against an uninformed rejection or uncritical embrace. While dealing with works of art, they have an eye for the form as well as the content. To them an important aspect of this content is formed by the spiritual dimension of a work, whether Christian, Buddhist, or postmodern. They especially look for voices of truth, hope and love in the art of the past and the present, whether or not by Christian hand.

My visual meditations for ArtWay include work by María Inés Aguirre, Giampaolo Babetto, Marian Bohusz-Szyszko, Alexander de Cadenet, Christopher Clack, Marlene Dumas, Terry Ffyffe, Jake Flood, Antoni Gaudi, Nicola Green, Maciej Hoffman, Gwen John, Lakwena Maciver, S. Billie Mandle, Giacomo Manzù, Sidney Nolan, Michael Pendry, Maurice Novarina, Regan O'Callaghan, Ana Maria Pacheco, John Piper, Nicola Ravenscroft, Albert Servaes, Henry Shelton, Anna Sikorska, Alan Stewart, Jan Toorop, Andrew Vessey, Edmund de Waal and Sane Wadu.

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Held By Trees - The Tree Of Life.

Windows on the world (493)

 

Little Baddow, 2024

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Held By Trees & Martin Smith - Lay Your Troubles Down.

Seen and Unseen: Revisiting Amazing Grace inspires new songs

My latest article for Seen & Unseen is entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally:

'The Sorrow Songs, Stolen From God and Grace Will Lead Me Home are three deeply moving and challenging albums, with [Angeline] Morrison and [Cohen] Braithwaite-Kilcoyne as the exceptional musicians linking all three, that tackle the history of the transatlantic slave trade, unearthing both incredible tales and uncomfortable truths. The Church is among the institutions that need most to hear and receive the truths and tales these albums share.'

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

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Angeline, Cohen and Jon - Grace will lead me home.

Habits for peacemaking

Here's the reflection that I shared during the Service of Remembrance held at Wickford's War Memorial this morning:

Earlier this Autumn in the Parish of Wickford and Runwell, we studied a course called the Difference Course. Difference is a course about the power of faith in a complex and divided world, enabling us to see transformation through everyday encounters.

In the first session of the course, we were discussing Jesus’ statement in the Sermon on the Mount – ‘Blessed are the peacemakers, for they will be called children of God.’ I was in a group with people who could recall the Second World War and the work of rebuilding the country that everyone, including their parents, was involved in once the War was over. Their memories helped me realise that winning the First and Second World Wars in order to bring peace as those that we remember today were doing is only the first stage in bringing peace.

The second stage, which involves all of us, is the task of maintaining peace and of actively living in peace. The peacemakers are not just those who bring peace by ending war but also those who live peacefully in the peace that others have won for them. If we do not do so then we risk, as is the risk currently with a war in Ukraine on European soil and the escalation of war in the Middle East, of slipping back into war, rather than maintaining peace.

Those we remember today who served to bring about peace or have served in maintaining peace, received training before they went to serve. They were training for war, but it is also possible to train for peace. That is what we were seeking to do earlier this Autumn when we studied the Difference Course.

The Course taught us three habits. First, to be curious by listening to others’ and seeing the world through their eyes. Second, to be present and to encounter others with authenticity and confidence. Third, to re-imagine finding hope and opportunity in places where we long to see change. These are helpful habits to learn and practice so that they genuinely become habitual for us in the ways we relate to other people. Because they are peaceful habits, they are also similar to the values that children continue to learn and practice in the uniformed organisations that are represented here today in such numbers.

Learning and practising habits such as those taught in the Difference Course will help us to be active peacemakers in our homes, our community, our nation, and our world. That is the best way in which we can honour those who laid down their lives in war to win peace for us and, as Jesus taught, we will experience God’s blessing and become his children when we live and act as peacemakers. Amen.

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Pie Jesu.

From turmoil and disturbance to peace and contentment

Here's the sermon that I shared at St Mary’s Runwell this morning:

Steve Turner’s poem ‘History Lesson’ is simple, short and blunt:

History repeats itself.
Has to.
No-one listens.

Remembrance Sunday is an attempt to ensure that people in the UK do learn lessons from our experience of two World Wars, as well as remembering those who have made the ultimate sacrifice in wartime. On one level, we could perhaps argue that lessons have been learnt in that there have been no more wars on the global scale that was experienced during World War II and yet conflict has continued to bedevil humanity. Russia’s attack on Ukraine has brought war, once again, to Europe and Israel’s war on Hamas and Hezbollah threatens to bring the Middle East, more widely into conflict.

Why is conflict so much a part of our human existence? Why, despite the devastation and loss of life that we saw in two World Wars, does it still seem that we are so far from the ability to live in peace with one another? I want to suggest a partial answer to us using the story of Jonah (Jonah 3.1-5, 10).

The story is both well-known and relatively simple. Jonah is tasked by God with preaching to the Ninevites but instead turns tail and takes a ship heading in the opposite direction. A violent storm leads the sailors to throw Jonah overboard. The storm then calms and Jonah is swallowed by a great fish. Inside the fish Jonah repents and, once spewed out onto dry land, travels to Ninevah where he delivers the message God gave him. The Ninevites hear him, repent and are saved from disaster. Jonah is angry with God because the Ninevites are the enemies of the people of Israel and so he wanted them destroyed.

That hatred of the Ninevites was the reason why Jonah rejected God’s call on his life and took a ship in the opposite direction to the place God had wanted him to go. Protection of his people - the people of Israel - by the destruction of their enemies - the Ninevites - was more important to him than doing God’s will. Jonah was angry with God because he thought God should only be on the side of and care for his people and, therefore, he wanted to try to frustrate God’s plans to save their enemies from disaster. He was angry with God because he wanted to possess God by keeping him only as the personal God of his people.

Jonah had actually completely misunderstood God’s relationship with the people of Israel and the reason for it. The choosing of the people of Israel as God’s chosen people and the gift to them of the promised land was not so that they would be protected by their own personal God in a land that was theirs to own. Instead of being their property, the promised land was a gift from God which enabled them to be a light revealing God to the nations around them. So, whenever they thought about themselves and the protection of their own possessions, they were actually wandering away from God’s will for their lives.

When Jonah did this, his lack of surrender to God’s will and God’s way caused disturbance - the storm - in his life which also affected the people around him. It was only when Jonah recognised that the storm - the disturbance in and around him - was directly connected to his lack of surrender to God’s will that the storm died down and he had time and space in which to repent and return to God’s way.

It is the same for us. When we are concerned with what we think of as ours - when we are saying this is mine, my property, my church, my nation - we are automatically anxious, worried and fearful because we are in defensive mode and we experience disturbance; disturbance which affects others because we are trying to protect what we think of as ours from those we think will take it from us. By contrast, Jesus calls us to give up our lives and let go of our possessions by handing them over to him - to let go and let God. When we genuinely do this, we find we are at peace because whatever we have and wherever we are and whatever we do is then in God’s hands - everything is his and his gift to us. We experience contentment with what we have and where we are and what we do because it is all God’s gift to us.

We read in the Letter to the Philippians, ‘I have learned to be content whatever the circumstances. I know what it is to be in need, and I know what it is to have plenty. I have learned the secret of being content in any and every situation, whether well fed or hungry, whether living in plenty or in want. I can do all this through him who gives me strength.' (Philippians 4.11-13)

Conflict and disturbance arise in our lives and in our world whenever we, like Jonah, have not surrendered to God’s will. Again, like Jonah, this occurs whenever we want to possess or protect things for ourselves, our group or our people. Instead, God calls us to let go and let God; to simply acknowledge that we own nothing, that all is God’s creation and gift. When we let go of our claim on the things around us, including our own lives, we start to genuinely trust God and learn the secret of being content in any and every situation. In this state, there is no disturbance or conflict because there is nothing to possess or protect and, therefore, we can know and share peace with others.

Jesus shows us how to do this by laying down his life for the sake of others and his resurrection reveals the new life that results. Just as he called his first disciples, so he calls us to follow in his footsteps by taking up our cross and losing our lives for his sake; letting go and letting God.

Will we be like Jonah and resist the call of God which leads to turmoil and disturbance in our lives and our world or will we be like Jesus’ disciples who gave up everything to follow him? Before deciding, we should reflect that to follow him is the way that leads to abundant, peaceful, contented and eternal life. It is as we surrender to God and to his will for our lives that we come to know his peace in our lives and are enabled to share that peace with others.

I began with a poem so I’ll also end with one too. This is ‘Silence’, a poem written by Malcolm Guite immediately following the commemoration of the two-minute silence:

November pierces with its bleak remembrance
Of all the bitterness and waste of war.
Our silence tries but fails to make a semblance
Of that lost peace they thought worth fighting for.
Our silence seethes instead with wraiths and whispers,
And all the restless rumour of new wars,
The shells are singing as we sing our vespers,
No moment is unscarred, there is no pause,
In every instant bloodied innocence
Falls to the weary earth, and whilst we stand
Quiescence ends again in acquiescence,
And Abel’s blood still cries in every land
One silence only might redeem that blood
Only the silence of a dying God.

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O God, our help in ages past. 

Windows on the world (492)

Hyde Hall, 2024

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James MacMillan - A New Song.

 

Artlyst: Modern Art Oxford Reopens After £2million Redesign

My latest exhibition review for Artlyst is on exhibitions at Modern Art Oxford as they reopen after a £2 million redesign:

'The main exhibition choice for the reopening of Modern Art Oxford is also the first institutional exhibition in the UK of work by Cuban artist Belkis Ayón (1967-1999). Ayón, whose work can also be seen at Tate Modern, was a Cuban artist and printmaker considered a pioneer in the printmaking world through her use of collography. By layering textured repurposed materials onto cardboard matrices, a form of collage, she was able to produce a vast range of tones, textures, and forms in large multi-panelled works. The exhibition includes film of Ayón using this process to create work, examples of which have now been seen at the Venice Biennale in 1993 and 2022, plus a retrospective at UCLA in 2016.

Her work is transgressive in that she reinterprets the traditions, rituals and beliefs of the Abakuá, a predominantly male Afro-Cuban religious group originating in the tribes and ritual traditions of West Africa, by focusing on the mythical female figure of Sikán.'

Interviews -

• Michael Petry Discusses In League With Devils with Revd Jonathan Evens
• Sean Scully A Humility Towards Nature
• Winslow Homer: American Passage An Interview With Biographer Bill Cross
• Grayson Perry Tapestries On Show At Salisbury Cathedral
• Sidney Nolan’s Africa: Interview With Andrew Turley
• Ilona Bossanyi: Tate’s Ervin Bossanyi Stained Glass Window Mothballed After 2011 Redevelopment
• Louis Carreon: Sampling Art History
• Modus Operandi - What Makes Successful Public Art: Vivien Lovell Interviewed
• Genesis Tramaine: A Queer Devotional Painter
• Lakwena Maciver: Review-Interview Hastings Contemporary
• Nicola Ravenscroft - Sculpture With A Peaceful Stillness
• Artist Hannah Rose Thomas – Tears of Gold – Interview
• Marcus Lyon: Human Atlas Explorations
• Elizabeth Kwant Interview
• Helaine Blumenfeld: Undulating Structures
• National Gallery Explores ‘Sin’ In New Exhibition – Interview Dr Joost Joustra Curator
• Betty Spackman: Posthumanism Debates
• Christopher Clack: Connecting The Material And Immaterial
• Peter Howson Artlyst Interview
• Marleen Hengelaar-Rookmaaker On The Legacy Of ArtWay
• Alastair Gordon A Testament To His Faith
• Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
• Apocalypse Now: Michael Takeo Magruder Interviewed
• Jonathan Anderson: Religious Inspirations Behind Modernism
• Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
• Art Awakening Humanity Alexander de Cadenet Interviewed
• Michael Pendry New Installation Lights Up St Martin In The Fields
• Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar

Monthly diary articles -

• The Art Diary November 2024
• The Art Diary October 2024
• The Art Diary September 2024
• The Art Diary August 2024
• The Art Diary July 2024
• The Art Diary June 2024
• The Art Diary May 2024
• The Art Diary April 2024
• The Art Diary March 2024
• The Art Diary February 2024
• The Art Diary January 2024
• The Art Diary December 2023
• The Art Diary November 2023
• The Art Diary October 2023
• The Art Diary September 2023
• Jeremy Deller In Rennes And Brittany Post-Impressionism – August Diary
• The Art Diary July 2023
• The Art Diary June 2023
• The Art Diary May 2023
• The Art Diary April 2023
• The Art Diary March 2023
• The Art Diary February 2023
• Surveying New Exhibitions With A Spiritual Twist January 2023 Art Diary
• Christmas: The Art Of Faith December 2022 Diary
• Soulages And Strange Clay November 2022 Art Diary
• Alexander de Cadenet And Michael Forbes October 2022 Diary
• Spiritual Joseph Beuys Plus More: September Diary
• Holiday Snaps – End Of Summer Art Diary
• Art Search: August 2022 Diary
• Re-imagining Essex July 2022 Diary
• Art Illuminating spirituality June 2022 Diary
• Venice To London May 2022 Diary
• Jacob Epstein, Louis Carreon, Titus Kaphar, Betty Spackman – April 2022 Diary
• Audrey Flack Carlo Crivelli And Robert Indiana – March Diary
• My Art Diary And Other Thoughts February 2022
• And On An Art Note: End Of Year Diary 2021
• International Autumn Art Exhibition Reviews
• And On An Art Note: End Of Year Diary 2021

Articles/Reviews -

• Leonora Carrington Still Relevant Firstsite Colchester
• Ken Currie, Kehinde Wiley, Susie Hamilton Three Exhibitions About Communities
• The Victorian Radicals And Other Related Exhibitions
• Cedric Morris And Arthur Lett-Haines Gainsborough House
• Lunar Lullabies, David Lock and Concrete Dreams Three Shows To See At Firstsite
• Tate Expressionists Exhibition Reveals Spirituality and Past Gender Disparity
• The Last Caravaggio National Gallery
• Issam Kourbaj Kettle’s Yard And Heong Gallery Cambridge
• Li Yuan-chia And Friends Kettles Yard Cambridge
• Antony Gormley Explores Self Awareness White Cube Bermondsey
• Holbein: Politics Religion And Draughtsmanship – The Queen’s Gallery
• R B Kitaj And Philip Guston: Figurative Painting Celebrated
• Paula Rego And Lord Harries Respond To Art And Religion
• A World In Common: Contemporary African Photography Tate Modern
• Chris Ofili Exploring Sin At Victoria Miro
• Ai Weiwei - The Artist of Resistance - The Design Museum
• Saint Francis of Assisi A Timely Exhibition - National Gallery
• Why Critics Have A Problem With The Pre-Raphaelites?
• Religion and Spirituality in Post Impressionism National Gallery
• Black Artists From The American South Royal Academy
• Donatello: The Divine Fused With The Human V&A
• Lucian Freud And His Circle Surveyed In Two London Exhibitions
• A Question Of Clay: Strange Clay – Hayward Gallery
• William Kentridge: Merging Politics With Aesthetics – RA
• Winslow Homer: Beyond The Sea – National Gallery
• Hidden Depths: The Woman in the Window – Dulwich Picture Gallery
• Heavenly Visions: Churches As Spaces For Contemporary Art
• In The Black Fantastic London’s Best Summer Exhibition
• Hew Locke And The Christian Roots Of Carnival – Tate BritainLes Lalanne, Schütte And Gursky London Spring Exhibition Highlights
• Sensuous Sickert and Philpot Two Major UK Solo Exhibitions
• Raphael The Human And Divine – National Gallery
• Damien Hirst The Visceral Reality Of Death
• Ali Cherri: Artist in Residence National Gallery
• Surrealism Outside The Usual Story – Tate Modern
• Marcus Lyon Creates Fields of Vision At St Martin-in-the-Fields London
• Van Gogh Self Portraits The Infinite And The Ordinary
• Marvellous Icons: The London Jesuit Centre
• Albrecht Dürer Travels Of A Renaissance Artist – National Gallery London
• Diasporan Identities: Life Between Islands Caribbean British Art – Tate Britain
• Isamu Noguchi: Socially Engaged Art – Barbican Centre
• Pablo Bronstein: A This-World Vision Of Hell
• Bosco Sodi: In The Beginning Of Wisdom
• George Condo Lockdown Works Hauser & Wirth
• Theaster Gates Clay As A Profound Metaphor
• Mark Rothko: Mesmerising And Intimate Works On Paper
• Roger Cecil: A Once In A Generation Welsh Painter
• Tino Sehgal: Location, Nature And Pandemic – Blenheim Palace
• Michael Armitage And The Power Of Art – Royal Academy
• Marie Raymond And Post-War Avant Garde Painting In Paris
• Rachel Kneebone: A Complex Tableau Of Organic And Geometric Forms
• Rodin: Suffering And Conflict – Tate Modern
• Barbara Hepworth: Symbols Of Art & Life – Hepworth Wakefield
• 20th Century Women Artists Challenging Conventions In Britain
• Chaiya Art Awards 2021 Gallery OXO
• Marc Chagall’s Exquisite Stained Glass Window Commissions
• George Gittoes Equal parts artist and warrior
• Keith Haring: Personal Spiritual Imagery
• Sean Scully: Philosophical Poetic Pastoral The 12 / Dark Windows
• Arthur Jafa: The Art Of Cutting And Pasting
• Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art
• Made in USA Ed Ruscha An American Perspective
• Robert Smithson: The Archetypal Nature Of Things
• If Jesus Is A Man Of Colour Why Did We Make Him Aryan?
• Cosmic Patches And Quilts Five Exhibitions
• Everyday Heroes: Southbank Exhibition Celebrates Low-paid Key Workers
• Entwining Spiritualism And Art – Three Shows
• Of Church And The Visual Arts
• Has The Word Master Reached Its Sell-By Date?
• The People Behind Community Is Kindness Billboard Campaign
• André Daughtry: Art, Rebellion And Racial Justice
• Salisbury Cathedral 800 Years Of Art And Spirit
• Home Alone Together Twenty Five Artists
• Botanical Mind Online: Art, Mysticism and the Cosmic Tree
• Salvador Dalí The Enigma of Faith
• Art And Faith A Time For Seeing
• Andy Warhol: Catholicism His Work, Faith And Legacy
• Kiki Smith: Embodied Art
• Art and Christianity Awards A Positive New Millennium Legacy
• Arnulf Rainer: 90th Birthday Exhibition Celebrated At Albertina Museum
• A Belonging Project And Exiles Loss and Displacement
• Robert Polidori: Fra Angelico Opus Operantis
• Art, Faith, Church Patronage and Modernity
• Contemplating the Spiritual in Contemporary Art
• Mat Collishaw Challenges Faith Perspectives With Ushaw Installation
• Waterloo Festival Launches At St. John’s Waterloo
• John Bellany Alan Davie Spiritual Joy and Magic
• RIFT Unites 17 Art and Science MA Graduates At Central St Martins
• Visionary Cities: Michael Takeo Magruder – British Library
• Van Gogh’s Religious Journey Around London
• William Congdon Holy Sites And The Kettle’s Yard Connection
• Mark Dean Premieres Pastiche Mass At Banqueting Hall Chelsea College of Arts
• John Kirby: The Torment
• Underlying The Civilised Facade
• Curating Spiritual Sensibilities In Changing Times
• Homeless Highlighted: New Beau Exhibition At St Martin-in-the-Fields
• Ken Currie: Protest Defeat And Victory
• Bosco Sodi: A Moment Of Genesis
• Bill Viola And The Art Of Contemplation
• Art In Churches 2018: Spiritual Combinations Explored
• Sister Wendy Beckett – A Reminiscence
• Guido Guidi: Per Strada Flowers Gallery London
• Peter Howson: The play is over – Flowers Gallery
• Camille Henrot: Scientific History And Creation Story Mash Up
• Nicola Green Explores Recent And Contemporary Religious Leaders – St Martin-in-the-Fields
• Art And The Consequences Of War Explored In Two Exhibitions
• Helaine Blumenfeld Translating Her Vision
• Sam Ivin: Physically Scratched Portraits Of Asylum Seekers Exhibited
• Sacred Noise: Explores Religion, Faith And Divinity
• Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
• The ground-breaking work of Sister Corita Kent
• Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
• Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
• Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
• Arabella Dorman Unveils New Installation At St James Church Piccadilly
• Can Art Transform Society?
• Art Awakening Humanity Conference Report
• Central St Martins in the Fields Design Then And Now
• The Sacramental And Liturgical Nature Of Conceptual Art
• Polish Art In Britain: Centenary Marked At London’s Ben Uri Gallery
• Refugee Artists: Learning from The Lives Of Others
• The Religious Impulses Of Robert Rauschenberg
• The Christian Science Connection Within The British Modern Art Movement
• Artists Rebranding The Christmas Tree Tradition
• Art Impacted - A Radical Response To Radicalisation
• The Art of St Martin-in-the-Fields
• Was Caravaggio A Good Christian?

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The King James Bible: Great Books Explained

https://www.youtube.com/watch?v=kcqIVnUar7Q

The film about the King James Bible I co-authored with James Payne, a curator, gallerist, and passionate art lover, has now garnered over 50,000 views. 

It covers the content and structure of the Bible as well as telling both the story of the King James Version's creation and some of its cultural influence.

Check it out and add your thoughts to comments that now include:

• "what great insights! Thank you"
• "I look at the Bible quite differently now that I’ve watched this. Thank you so much for this new lens of insight."
• "Astonishing how rich the history of the Bible really is even in the "later" days - I had no idea so many people had worked on it. And the process used for the KJV - my goodness, it seems so complicated and yet so very clever."
• "It's sad when people either haven't realized or outright deny how important the KJV bible has been in the history of the English-speaking world, even if someone isn't religious, it's very much worth learning about the impact this book had on culture. Thank you for making this video!"
• "This "beautiful" video is one of the best of youtube. Thank you!"
• "Wow, when I saw the topic, I thought, How ballsy, such a controversial topic! But it was masterfully done, a good analysis of the book as a book."

For more of my writings on the Bible see here:

• Exodus & Exile - an online exhibition exploring themes of identity and migration in the Bible;
• Visual Commentary on Scripture - three exhibitions for the VCS on Daniel 4, Matthew 4:12–22 & Mark 1:14–20, and Hebrews 11; and
• Visual Meditations - visual meditations written for ArtWay.

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Malcolm & Alwyn - Fool's Wisdom.

Artlyst - November Art Diary

My November Art Diary for Artlyst begins with exhibitions by artists with whom I have some former connections, starting with some I have interviewed, such as Michael Petry, Sean Scully and Genesis Tramaine. Then, I highlight some other artists and exhibitions that address aspects of spirituality and mythology. These include Stanley Spencer, Takis and Jonathan Clarke. Finally, I end with exhibitions exploring themes of equality and inclusion, which enable difficult conversations to take place across boundaries:

'Another former interviewee of mine for Artlyst is Paul Chandler, who runs CARAVAN, an international arts NGO. Their latest exhibition, ‘SYMBOLS OF LIFE: BEYOND PERCEPTION: An Artistic Exploration of the Human Soul’, is part of the programming around the Biennale de Dakar, the premiere art event on the African continent. This exhibition features two remarkable artists whose work enhances our experience and understanding of each other and the transcendent. Tidiane Ndongo and Djibril Coulibaly brilliantly embody CARAVAN’s vision of seeing the arts play a strategic role in transforming our world; they touch the spiritual dimension of our human existence. Art is a universal language that can dissolve the differences that divide us. As long as division has torn apart the human family, art has offered a mode of reconciliation and wholeness. As is evident in this exhibition, artistic initiatives by their very nature, are “encounter points,” bringing people together from different backgrounds who might otherwise remain apart, deepening understanding across cultures and spiritual traditions.'

The interviews that I mention in this Art Diary can be found at: Michael Petry; Genesis Tramaine; Sean Scully; and Paul Chandler. I also mention the following reviews: ‘In The Black Fantastic’; ‘Rites of Passage’; and ‘A World In Common’.

Interviews -

• Michael Petry Discusses In League With Devils with Revd Jonathan Evens
• Sean Scully A Humility Towards Nature
• Winslow Homer: American Passage An Interview With Biographer Bill Cross
• Grayson Perry Tapestries On Show At Salisbury Cathedral
• Sidney Nolan’s Africa: Interview With Andrew Turley
• Ilona Bossanyi: Tate’s Ervin Bossanyi Stained Glass Window Mothballed After 2011 Redevelopment
• Louis Carreon: Sampling Art History
• Modus Operandi - What Makes Successful Public Art: Vivien Lovell Interviewed
• Genesis Tramaine: A Queer Devotional Painter
• Lakwena Maciver: Review-Interview Hastings Contemporary
• Nicola Ravenscroft - Sculpture With A Peaceful Stillness
• Artist Hannah Rose Thomas – Tears of Gold – Interview
• Marcus Lyon: Human Atlas Explorations
• Elizabeth Kwant Interview
• Helaine Blumenfeld: Undulating Structures
• National Gallery Explores ‘Sin’ In New Exhibition – Interview Dr Joost Joustra Curator
• Betty Spackman: Posthumanism Debates
• Christopher Clack: Connecting The Material And Immaterial
• Peter Howson Artlyst Interview
• Marleen Hengelaar-Rookmaaker On The Legacy Of ArtWay
• Alastair Gordon A Testament To His Faith
• Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
• Apocalypse Now: Michael Takeo Magruder Interviewed
• Jonathan Anderson: Religious Inspirations Behind Modernism
• Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
• Art Awakening Humanity Alexander de Cadenet Interviewed
• Michael Pendry New Installation Lights Up St Martin In The Fields
• Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar

Monthly diary articles -

• The Art Diary October 2024
• The Art Diary September 2024
• The Art Diary August 2024
• The Art Diary July 2024
• The Art Diary June 2024
• The Art Diary May 2024
• The Art Diary April 2024
• The Art Diary March 2024
• The Art Diary February 2024
• The Art Diary January 2024
• The Art Diary December 2023
• The Art Diary November 2023
• The Art Diary October 2023
• The Art Diary September 2023
• Jeremy Deller In Rennes And Brittany Post-Impressionism – August Diary
• The Art Diary July 2023
• The Art Diary June 2023
• The Art Diary May 2023
• The Art Diary April 2023
• The Art Diary March 2023
• The Art Diary February 2023
• Surveying New Exhibitions With A Spiritual Twist January 2023 Art Diary
• Christmas: The Art Of Faith December 2022 Diary
• Soulages And Strange Clay November 2022 Art Diary
• Alexander de Cadenet And Michael Forbes October 2022 Diary
• Spiritual Joseph Beuys Plus More: September Diary
• Holiday Snaps – End Of Summer Art Diary
• Art Search: August 2022 Diary
• Re-imagining Essex July 2022 Diary
• Art Illuminating spirituality June 2022 Diary
• Venice To London May 2022 Diary
• Jacob Epstein, Louis Carreon, Titus Kaphar, Betty Spackman – April 2022 Diary
• Audrey Flack Carlo Crivelli And Robert Indiana – March Diary
• My Art Diary And Other Thoughts February 2022
• And On An Art Note: End Of Year Diary 2021
• International Autumn Art Exhibition Reviews
• And On An Art Note: End Of Year Diary 2021

Articles/Reviews -

• Leonora Carrington Still Relevant Firstsite Colchester
• Ken Currie, Kehinde Wiley, Susie Hamilton Three Exhibitions About Communities
• The Victorian Radicals And Other Related Exhibitions
• Cedric Morris And Arthur Lett-Haines Gainsborough House
• Lunar Lullabies, David Lock and Concrete Dreams Three Shows To See At Firstsite
• Tate Expressionists Exhibition Reveals Spirituality and Past Gender Disparity
• The Last Caravaggio National Gallery
• Issam Kourbaj Kettle’s Yard And Heong Gallery Cambridge
• Li Yuan-chia And Friends Kettles Yard Cambridge
• Antony Gormley Explores Self Awareness White Cube Bermondsey
• Holbein: Politics Religion And Draughtsmanship – The Queen’s Gallery
• R B Kitaj And Philip Guston: Figurative Painting Celebrated
• Paula Rego And Lord Harries Respond To Art And Religion
• A World In Common: Contemporary African Photography Tate Modern
• Chris Ofili Exploring Sin At Victoria Miro
• Ai Weiwei - The Artist of Resistance - The Design Museum
• Saint Francis of Assisi A Timely Exhibition - National Gallery
• Why Critics Have A Problem With The Pre-Raphaelites?
• Religion and Spirituality in Post Impressionism National Gallery
• Black Artists From The American South Royal Academy
• Donatello: The Divine Fused With The Human V&A
• Lucian Freud And His Circle Surveyed In Two London Exhibitions
• A Question Of Clay: Strange Clay – Hayward Gallery
• William Kentridge: Merging Politics With Aesthetics – RA
• Winslow Homer: Beyond The Sea – National Gallery
• Hidden Depths: The Woman in the Window – Dulwich Picture Gallery
• Heavenly Visions: Churches As Spaces For Contemporary Art
• In The Black Fantastic London’s Best Summer Exhibition
• Hew Locke And The Christian Roots Of Carnival – Tate BritainLes Lalanne, Schütte And Gursky London Spring Exhibition Highlights
• Sensuous Sickert and Philpot Two Major UK Solo Exhibitions
• Raphael The Human And Divine – National Gallery
• Damien Hirst The Visceral Reality Of Death
• Ali Cherri: Artist in Residence National Gallery
• Surrealism Outside The Usual Story – Tate Modern
• Marcus Lyon Creates Fields of Vision At St Martin-in-the-Fields London
• Van Gogh Self Portraits The Infinite And The Ordinary
• Marvellous Icons: The London Jesuit Centre
• Albrecht Dürer Travels Of A Renaissance Artist – National Gallery London
• Diasporan Identities: Life Between Islands Caribbean British Art – Tate Britain
• Isamu Noguchi: Socially Engaged Art – Barbican Centre
• Pablo Bronstein: A This-World Vision Of Hell
• Bosco Sodi: In The Beginning Of Wisdom
• George Condo Lockdown Works Hauser & Wirth
• Theaster Gates Clay As A Profound Metaphor
• Mark Rothko: Mesmerising And Intimate Works On Paper
• Roger Cecil: A Once In A Generation Welsh Painter
• Tino Sehgal: Location, Nature And Pandemic – Blenheim Palace
• Michael Armitage And The Power Of Art – Royal Academy
• Marie Raymond And Post-War Avant Garde Painting In Paris
• Rachel Kneebone: A Complex Tableau Of Organic And Geometric Forms
• Rodin: Suffering And Conflict – Tate Modern
• Barbara Hepworth: Symbols Of Art & Life – Hepworth Wakefield
• 20th Century Women Artists Challenging Conventions In Britain
• Chaiya Art Awards 2021 Gallery OXO
• Marc Chagall’s Exquisite Stained Glass Window Commissions
• George Gittoes Equal parts artist and warrior
• Keith Haring: Personal Spiritual Imagery
• Sean Scully: Philosophical Poetic Pastoral The 12 / Dark Windows
• Arthur Jafa: The Art Of Cutting And Pasting
• Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art
• Made in USA Ed Ruscha An American Perspective
• Robert Smithson: The Archetypal Nature Of Things
• If Jesus Is A Man Of Colour Why Did We Make Him Aryan?
• Cosmic Patches And Quilts Five Exhibitions
• Everyday Heroes: Southbank Exhibition Celebrates Low-paid Key Workers
• Entwining Spiritualism And Art – Three Shows
• Of Church And The Visual Arts
• Has The Word Master Reached Its Sell-By Date?
• The People Behind Community Is Kindness Billboard Campaign
• André Daughtry: Art, Rebellion And Racial Justice
• Salisbury Cathedral 800 Years Of Art And Spirit
• Home Alone Together Twenty Five Artists
• Botanical Mind Online: Art, Mysticism and the Cosmic Tree
• Salvador Dalí The Enigma of Faith
• Art And Faith A Time For Seeing
• Andy Warhol: Catholicism His Work, Faith And Legacy
• Kiki Smith: Embodied Art
• Art and Christianity Awards A Positive New Millennium Legacy
• Arnulf Rainer: 90th Birthday Exhibition Celebrated At Albertina Museum
• A Belonging Project And Exiles Loss and Displacement
• Robert Polidori: Fra Angelico Opus Operantis
• Art, Faith, Church Patronage and Modernity
• Contemplating the Spiritual in Contemporary Art
• Mat Collishaw Challenges Faith Perspectives With Ushaw Installation
• Waterloo Festival Launches At St. John’s Waterloo
• John Bellany Alan Davie Spiritual Joy and Magic
• RIFT Unites 17 Art and Science MA Graduates At Central St Martins
• Visionary Cities: Michael Takeo Magruder – British Library
• Van Gogh’s Religious Journey Around London
• William Congdon Holy Sites And The Kettle’s Yard Connection
• Mark Dean Premieres Pastiche Mass At Banqueting Hall Chelsea College of Arts
• John Kirby: The Torment
• Underlying The Civilised Facade
• Curating Spiritual Sensibilities In Changing Times
• Homeless Highlighted: New Beau Exhibition At St Martin-in-the-Fields
• Ken Currie: Protest Defeat And Victory
• Bosco Sodi: A Moment Of Genesis
• Bill Viola And The Art Of Contemplation
• Art In Churches 2018: Spiritual Combinations Explored
• Sister Wendy Beckett – A Reminiscence
• Guido Guidi: Per Strada Flowers Gallery London
• Peter Howson: The play is over – Flowers Gallery
• Camille Henrot: Scientific History And Creation Story Mash Up
• Nicola Green Explores Recent And Contemporary Religious Leaders – St Martin-in-the-Fields
• Art And The Consequences Of War Explored In Two Exhibitions
• Helaine Blumenfeld Translating Her Vision
• Sam Ivin: Physically Scratched Portraits Of Asylum Seekers Exhibited
• Sacred Noise: Explores Religion, Faith And Divinity
• Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
• The ground-breaking work of Sister Corita Kent
• Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
• Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
• Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
• Arabella Dorman Unveils New Installation At St James Church Piccadilly
• Can Art Transform Society?
• Art Awakening Humanity Conference Report
• Central St Martins in the Fields Design Then And Now
• The Sacramental And Liturgical Nature Of Conceptual Art
• Polish Art In Britain: Centenary Marked At London’s Ben Uri Gallery
• Refugee Artists: Learning from The Lives Of Others
• The Religious Impulses Of Robert Rauschenberg
• The Christian Science Connection Within The British Modern Art Movement
• Artists Rebranding The Christmas Tree Tradition
• Art Impacted - A Radical Response To Radicalisation
• The Art of St Martin-in-the-Fields
• Was Caravaggio A Good Christian?

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David Fanshawe: African Sanctus: 9. The Lord's Prayer (The Offertory).