ASCHA | Association of Scholars of Christianity in the History of Art
P A S T E V E N T S
Prophetic Imagination in Contemporary Art
February 17, 2023 | CAA conference session, New York, NY
Many contemporary artists regard their work as having not only an aesthetic but also a moral and spiritual function. They see the artist as a visual truth-teller exposing social and spiritual injustice, and their work as envisioning a more perfect world. Such artists are at once products of their society yet empowered to speak against its conditions. The subject of artistic mediation in creating a better world then begs the question of how it is that artistic expression may at once originate from and respond to the real world while combating its repressive features. This suggests a prophetic role for the artist that can be likened to that of figures of Jewish and Christian prophets, from Abraham to Moses to Isaiah to John the Baptist. These prophets model an intersection of spiritual purpose and material action.
CO-ORGANIZERS
Linda Stratford (Asbury University)
Ronald Bernier (Wentworth Institute of Technology)
PRESENTATIONS
David Sperber (Hebrew Union College, Jerusalem), “Religious Jewish Feminist art in the US and Israel”
Kendall DeBoer (University of Rochester), “Jewel-Encrusted Rats in Ecclesiastical Garb: Art and Treasures for You, Honey”
Benny Fountain (Baylor University), “In Dialog with Milton: The Prophetic Voice of Contemporary British Artist Richard Kenton Webb”
The Artist as Truth-Teller and the Legacy of French Artist Georges Rouault
June 17, 2022 | Institut Catholique, Paris, France
A symposium in honor of the recent 150th anniversary of the birth of French modernist Georges Rouault, featuring presentations exploring the work of post-World War II artists and theorists whose work extends and expands Rouault’s interest in a Judeo-Christian model of prophetic social and spiritual action. Download the full symposium program.
CO-ORGANIZERS
Linda Stratford (Asbury University)
James Romaine (Lander University)
KEYNOTE PRESENTATION
Jérôme Cottin (Université de Strasbourg), “The Artist as Truth Teller: From Georges Rouault to the Present”
PRESENTATIONS
Christine Gouzi (Université Paris-Sorbonne), “Georges Rouault, de la peinture à l’écriture: Soliloques d’un peintre”
Denis Hétier (Institut Catholique de Paris), “L’ordre intérieur de l’artiste: Vers une réflexion théologique sur Georges Rouault et Pie-Raymond Regamey”
William Dyrness (Fuller Theological Seminary), “Maritain and Rouault: Who Influenced Whom? A study of Literary and Visual Relationships”
Julie Hamilton (Foundation for Spirituality and the Arts), “Georges Rouault’s Rebellion: Empathy as Social Critique”
Hélène de Talhouët (Institut Catholique de Paris), “Henri Matisse, approches plastiques du sentiment spirituel”
Pierre-Emmanuel Perrier de la Bâthie (Institut Catholique de Paris), “L’artiste comme prophète en son temps: Les références chrétiennes dans l’œuvre de Joseph Beuys”
Jonathan Evens (Wickford and Runwell Team Ministry), “True Humility is Not Mediocrity”
Monica Keska (University of Granada), “Go Down Moses: Biblical Imagery in the Works of Aaron Douglas”
James Romaine (Lander University), “Validating Experiences: Romare Bearden’s Creative Purpose”
Linda Stratford (Asbury University), “George Rouault’s Legacy of Artistic Mediation and Spiritual Purpose”
Art, Mysticism, and a New Apophasis
February 18, 2022 | CAA conference session, Chicago, IL
The sources of apophatic theology are found in late antiquity and the early Christian period and were further developed by the mystics of the late Middle Ages. This session features presentations investigating various ways in which modern and contemporary art extends these traditions in surprising ways, enacting various presentations of that which absolute exceeds (and precedes) presentation.
CO-ORGANIZERS
Ronald Bernier (Wentworth Institute of Technology)
Jonathan Anderson (Duke University)
PRESENTATIONS
Rory O’Dea (Parsons School of Design/The New School), “Mediating the Abyss: Robert Smithson and the Art of Geological Mysticism”
Laura McCloskey Wolfe (George Mason University), “‘Visio Dei sicuti est’: Insular Decoration in Medieval Ireland as Depictions Approaching the Infinite”
Elizabeth Ferrell (Arcadia University), “‘The Way a Lion Watches a Fly’: Agnosia in the Art and Poetry of 1950s San Francisco”
Contemporary Artists in Religious Spaces
February 13, 2021 | CAA conference session, New York, NY
Over the past few decades, a number of major contemporary artists have been interacting with religious spaces in significant ways. On the one hand, this includes artists accepting invitations and commissions to place artworks, temporarily or permanently, in spaces currently or previously devoted to religious belief and practice, including churches, chapels, monasteries, synagogues, and other religious sites. On the other hand, this also includes artists making works that take religious forms and artifacts out of these spaces but in ways that keep them overtly connected to and in conversation with them. These artists may or may not fully identify with the faiths celebrated in these sites, but they place their works into conversation with the meanings, histories, and practices of these locations in ways that are full of implication. In the most successful instances, the artworks put interpretive pressure on these religious contexts, interrupting familiar conventions and raising new questions, but, in turn, these religious contexts also exert significant interpretive pressure on the artworks, putting them into direct relation to dense religious histories, liturgical traditions, and theological frameworks. ASCHA’s 2021 CAA session is devoted to exploring the ways that these works generate such two-way pressures.
CO-ORGANIZERS
Jonathan Anderson (Duke University)
James Romaine (Lander University)
PRESENTATIONS
Amy Folkedahl Meehleder (University of Minnesota), “Raining through the Roof: Baptism and Community in Theaster Gates’s Black Vessel for a Saint”
Melissa Warak (University of Texas at El Paso), “Sounding Sacred Spaces: Janet Cardiff and George Bures Miller’s Forty Part Motet and The Infinity Machine”
Martina Tanga (Museum of Fine Arts Boston) and Miranda Hofelt (Munson-Williams-Proctor Arts Institute), “Faith in Place: Race and Religion in the Art of Allan Rohan Crite”
Julie M. Hamilton (The Other Journal), “Syncretistic Siluetas: Ana Mendieta’s Cuilapán Performatives”
Interactions between Judaism and Christianity in the History of Art
February 12, 2020 | CAA conference session, Chicago, IL
In recent decades, a significant body of scholarship has begun to reexamine the interaction and interrelation between Judaism and Christianity in the history of art, from the third century to the twenty-first. ASCHA’s 2020 CAA session seeks to further develop this scholarship by exploring moments of significant exchange between Jewish and Christian thought, practice, and material culture in the history of art.
CO-ORGANIZERS
Jonathan Anderson (King’s College London)
Aaron Rosen (Wesley Theological Seminary)
PRESENTATIONS
Megan Boomer (University of Pennsylvania), “Saint Abraham?: Hebron’s Tomb of the Patriarchs in the Latin Kingdom of Jerusalem”
Michael Young (University of Connecticut), “Bohemia Sacra Judaizante: Central European Baroque Art and the Jewish Mystical Tradition”
Marsha Stevenson (University of Notre Dame), “Édouard Brandon: A Jewish Painter in 19th-Century Rome”
Ben Schachter (Saint Vincent College), “Bell, Book, and Shofar: Contemporary Art and Eschatology”
Waiting for the End of the World: Eschatology and Art, 1850–2000
February 11–12, 2019 | New York University
Since the end of the Second World War, historical forces and personal motivations compelled many artists, working across a spectrum of materials and visual methods, to directly employ or obliquely reference themes of the Last Judgment and the Apocalypse. Over a historical period of wars, economic booms and devastating depressions, the rise and fall of ideologies of left and right, the collapse of colonial empires and the chaos of failed states, the threats of nuclear annihilation and ecological degradation, artists frequently turned to eschatological imagery to visualize the experience of modern life. The Last Judgment described in the sacred texts of the Abrahamic religions threatens damnation and promises redemption for both the individual and society. This symposium explores the ways that apocalyptic beliefs and imagery have informed the work of avant-garde artists. Download the full symposium program.
CO-ORGANIZERS
Amy Hamlin (St. Catherine University)
James Romaine (Lander University)
KEYNOTE PRESENTATION
Pepe Karmel (New York University), “The End of Art as a Necessary Fiction”
PRESENTATIONS
Hannah Hempstead (Wheaton College), “Between the Center and the Edge of Things:” Art, Entropy, and Eschatology in the Work of Robert Smithson”
Rory O’Dea (Parsons School of Design), “Entropic Apocalypse: Robert Smithson’s Non-Objective World”
Suzaan Boettger (Bergen Community College), “‘Life in the Lower Depths’: Early 1960s’ Postapocalyptic Undergrounds of the Proto-Postmodernist Robert Smithson”
Deborah Frizzell (William Paterson University of New Jersey), “Across Space and Time: Figuring the Structures of Nancy Spero’s Eschatology”
Alexander R. Bigman (New York University), “No Future: Sarah Charlesworth’s Doomsday Historicism from Modern History to Stills”
Isabelle Loring Wallace (University of Georgia), “Judgment, Jesus, and Reality TV: Christian Jankowski’s Casting Jesus (2011)”
A Strange Place Still? Religion in Contemporary Art
February 14, 2017 | The Union League Club, New York, NY
It has been nearly a decade and a half since James Elkins’ book On the Strange Place of Religion in Contemporary Art (2004) first appeared, wherein the critic claimed that the art world “can accept a wide range of ‘religious’ art by people who hate religion, by people who are deeply uncertain about it, by the disgruntled and the disaffected and the skeptical, but there is no place for artists who express straightforward, ordinary religious faith.” This was a challenge to the profession of academic art history to answer for its aversion to one of the most significant dimensions of human diversity—faith and religious expression. Yet much has changed since these remarks were made. Artists, art historians, critics, and curators have vigorously challenged the assumed secularism of institutional art history, and a generation of scholarship and exhibition has developed that resists the skepticism that can still come when religion is a topic of discussion in the academy. This one-day symposium brings together scholars and arts professionals to explore the rich place of the sacred in contemporary visual culture, with the aim of contributing to a vibrant field that has begun meaningfully to address art’s engagement with religion. Download the full symposium program.
CO-ORGANIZERS
Ronald R. Bernier (Wentworth Institute of Technology)
Rachel Hostetter Smith (Taylor University)
KEYNOTE PRESENTATION
Jonathan A. Anderson (Biola University), “Postsecularity and the Return of Religion in Contemporary Art Criticism”
PRESENTATIONS
James Romaine (Lander University), “More Than The Eye Can See: The Means and Ends of Visualizing the Sacred in the Art of Tim Rollins and K.O.S.”
Stephen S. Bush (Brown University), “Religion and the Art of State Violence: Doris Salcedo’s Neither”
Jorge Sebastián-Lozano (Universitat de València / Harvard University), “Taming the Invisible: Video Art in Search of the Word’s New Faces”
Julie Hamilton (The Other Journal), “Performativity and the Flesh: The Economy of the Icon in Lia Chavez’s Light Body”
Ben Schachter (Saint Vincent College), “From Making to Understanding: An Artistic Interpretation of the Commandment, ‘We Will Do and [Then] We Will Hear’”
Linda Stratford (Asbury University), “Exploring Theological Dimensions of the Aesthetic Object: Art Historical Methodologies”
Steven Félix-Jäger (Southeastern University), “Towards a Global Theology of Art”
*Watch video recordings of all presentations here: A Strange Place Still? Religion in Contemporary Art.
Picturing Paradise in 19th-Century British and American Art: Past, Lost, Regained
February 2, 2016 | Henry Luce III Center for the Arts and Religion, Wesley Theological Seminary, Washington, DC
Paradise is a persistent and varied theme in 19th-century American and British art. During a period of increasing industrialization and urbanization, territorial expansion and colonization, foliated and landscape imagery found particular resonance as a means of drawing on a past and/or projecting a future paradise to address present concerns as various societies, groups, and individuals pursued explorations of spiritual and social perfection. Building on scholarship on artists like William Blake, John Martin, and the Hudson River School, who promote conceptions of “paradise” in their art, this symposium expands the scholarly terrain to include new topics that address perceptions and problematics in the idea of “paradise” prevalent in the nineteenth century. Download the full symposium program.
CO-ORGANIZERS
Rachel Hostetter Smith (Taylor University)
James Romaine (Nyack College)
KEYNOTE PRESENTATION
Roger Crum (University of Dayton), “Paradise Lost, Eden Remade, and Italy Brought Home as Substance, Sign, and Souvenir”
PRESENTATIONS
Naomi Billingsley (King’s College London), “Re-viewing Blake’s Paradise Regained”
Alan Wallach (College of William and Mary), “The Politics of Paradise”
Linda J. Docherty (Bowdoin College), “Translating Dante: Isabella Stewart Gardner’s Museum as Paradiso”
Kathleen Stuart (Denver Art Museum), “Samuel Palmer, John Martin, and John Sell Cotman: Visions of Paradise in the Eye of the Beholder?”
Chris Coltrin (Shepherd University), “Paradise City: The Representation of an Urban Heaven in the Art of John Martin”
Elissa Yukiko Weichbrodt (Covenant College), “Found or Recovered: Competing Views of Paradise in Late Nineteenth-Century Hawaiian Landscape Painting”
Envisioning the Eucharist: Transcending the Literal in Medieval and Byzantine Art
February 11, 2014 | The Art Institute of Chicago, Chicago, IL
This symposium examined the assertion that Medieval and Byzantine art functioned not as a mere supplement to or reduction of advanced theological concepts, but as theology in its own right. This symposium featured papers of new scholarship that explore how developing Eucharistic doctrine was translated—and transformed—visually. Download the full symposium program.
CO-ORGANIZERS
Matthew Milliner (Wheaton College)
James Romaine (Nyack College)
KEYNOTE PRESENTATION
Aden Kumler (University of Chicago), “Specific Objects: Eucharistic Literality in the Middle Ages”
PRESENTATIONS
Florian Wöller (Universität Basel), “What is ‘hoc’? Deixis According to Some Late-medieval Eucharistic Theories”
Roland Betancourt (Yale University), “Byzantine Virality: The Mechanics of Eucharistic Representation”
Corinna T. Gallori (Warburg Institute), “Holy Name, Holy Presence”
Nancy Thebaut (University of Chicago), “‘Hoc est corpus meum’: Paint and the Eucharist in 11th-century Evangeliaries from Echternach”
Elizabeth C. Parker (Fordham University), “Envisioning the Eucharist in Antelami’s Parma Deposition”
Sang Sacré: Conflicting Associations in French Art
February 12, 2013 | Pratt Institute, New York, NY
In Christian concepts of sacrifice and redemption, sacred blood—“le Sang Sacré”—suggests competing meanings, as represented in symbols, themes, and narratives. “Sang Sacré” has been identified not only with mortality and immortality, but also forms a dialectic of truth and falsity. In the nineteenth-century, French art demonstrated ways in which Christian associations with blood could be associated with power as an expression of the vengeful, the covenantal, and the salvific. In paintings, prints and architectural programs, symposium papers address the metaphysical and aesthetic attributes of blood as an interpreter of cultural, political or spiritual values and the connections between the material and the immaterial. Download the full symposium program.
CO-ORGANIZERS
Joyce Polistena (Pratt Institute)
James Romaine (Nyack College)
KEYNOTE PRESENTATION
Cordula Grewe (Columbia University), “Ingres’s Eucharist: An Anachronistic Reading”
PRESENTATIONS
Ronald Bernier (Wentworth Institute of Technology), response to Cordula Grewe
Kirk Ambrose (University of Colorado), “Nineteenth-century Engagement with and Disavowal of the Blood of Christ within French Medieval Art History and the Shift in Hermeneutics”
Nora Heimann (Catholic University of America), “From Sacrificial Lamb to Celestial Spouse: Nineteenth-Century Celebrations of First Communion”
Elizabeth M. Rudy (Harvard Art Museums), “Post-Revolutionary Bloodlessness: A Political Exigency”
Jessica Basciano (Bucknell University), “Cemented by Blood: Expiatory Churches of the Early Third Republic”
Albert Alhadeff (University of Colorado), “Blood as a Gateway to Redemption: Ensor as a Man of Sorrows”
Faith, Identity, and History: Representations of Christianity in Modern and Contemporary African American Art
March 23–24, 2012 | Philadelphia Museum of Art and Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Although sometimes overlooked, Christian symbols, themes, and narratives have been employed in complex and divergent ways in works of art by African Americans. Coinciding with the Pennsylvania Academy of the Fine Arts' exhibition, Henry Ossawa Tanner: Modern Spirit, this symposium focused on intersections of faith, identity, and history in a broad range of works created by modern and contemporary African American artists. Scholarly papers explored artists' uses of Christian symbols, themes, and motifs relating to issues of family and community and to the negotiation of race and class. Download the full symposium program.
CO-ORGANIZERS
Nikki A. Greene (Wellesley College)
Emily Hage (St. Joseph’s University)
James Romaine (Nyack College)
KEYNOTE PRESENTATION
Leslie King-Hammond (Maryland Institute College of Art), “Ashé to Amen—Biblical Imagery and the African American Experience”
PRESENTATIONS
Jeffrey Richmond-Moll (Pennsylvania Academy of the Fine Arts), “Beyond Society: Henry Ossawa Tanner, the AME, and the Social Margin”
James Romaine (Nyack College), “Visual Exegesis in the Biblical Paintings of Henry Ossawa Tanner”
Kristin Schwain (University of Missouri), “Civilizing Vision: The Protestant Patrons of Henry Ossawa Tanner’s Biblical Paintings”
Edward M. Puchner (Indiana University, Bloomington), “‘A Tried Stone’: Community, Conversion, and Christ in the Sculpture of William Edmondson”
Elaine Y. Yau (University of California Berkeley), “Sensing Sanctification in the Painting of Sister Gertrude Morgan”
Emily Hage (St. Joseph’s University), “Collage as Critique: Romare Bearden and the Civil Rights Movement”
Amy Helene Kirschke (University of North Carolina), “Romare Bearden and the Baltimore Afro-American: Social Realism and Political Cartooning”
Phoebe Wolfskill (Indiana University, Bloomington), “Storefront Churches, Catholicism, and Class Hierarchy in the Work of Archibald Motley, Jr.”
Julie Levin Caro (Warren Wilson College), “The Performance of Black Middle Class and Episcopal Identity in Allan Rohan Crite’s Illustrated Spirituals”
Nikki A. Greene (Wellesley College), “To The Glory of God (TTGG): Moe Brooker’s Painted Faith”
Joyce Carol Polistena (Pratt Institute), “In Good Faith: Straining for Order Out of Chaos”
Christianity and Latin American Art: Apprehension, Appropriation, Assimilation
February 21, 2012 | Cathedral of Our Lady of the Angels, Los Angeles, CA
Reflecting the varied and dynamic visual culture of Latin America, this symposium investigated the rich cultural and spiritual traditions of Christianity in Latin American identity to probe the widely varied attitudes, influences, and applications of that heritage. Presentations from an impressive roster of established and emerging national scholars in the field explore religious themes, narratives, iconography, and sensibilities in Latin American visual culture, in a variety of media, and from a range of historical periods and regions of Latin America to reveal the interconnectivity of faith, race, ethnicity, and history and the methodological challenges these works of art, and their artists, pose in the history of art. Download the full symposium program.
CO-ORGANIZERS
Ronald R. Bernier (Wentworth Institute of Technology)
Rachel Hostetter Smith (Taylor University)
KEYNOTE PRESENTATION
Marilyn Aronberg Lavin (Princeton University), “From ‘a little piece of property’ to the City of the Angels”
PRESENTATIONS
E. Logan Wagner (Texas A&M University), “Early Pre-classic Origins of 16th-Century Convent Church Yards in Mesoamerica”
Christa Irwin (Graduate Center City University of New York), “Bernardo Bitti’s Coronation of the Virgin: A Case Study on Sacred Painting in Colonial Lima”
Aaron Hyman (Yale University), “New World Icons: How Feathers Gave Europeans Their ‘Image’ Back”
Maya Stanfield-Mazzi (University of Florida), “Christian Triumphalism in the Inca Capital: Altarpieces at the Cathedral of Cusco”
Jaime Lara (University of Notre Dame), “Flights of Franciscan Fancy: An Apocalyptic Francis of Assisi in Colonial Latin American Art”
Cristina Cruz Gonzalez (Oklahoma State University), “Crucifixion Piety in New Mexico: On the Origins and Art of St. Librada”
Jennifer Hughes (University of California Riverside), “Cradling of Christian Images: Ritual Postures and Religious Art in Mexican and Mexican-American Cultures”
Kathy Hettinga (Messiah College), “Grave Images: An Expressive, Enduring Folk Art”
Mary Goodwin (University of Alaska), “Alfredo Ramos Martinez: Designs for Sacred Spaces”
Ann Marie Leimer (University of Redlands), “Appropriating and Differentiating La Conquistadora: A Conquering Virgin Meets Her Match”
Jacqueline Casale Taylor Basker (New York Institute of Technology), “Beauty for Ashes Project: Appropriation and Transformation in the work of Brazilian Artist Duda Penteado”
Jonathan A. Anderson (Biola University), “Contingency and Faithfulness: Francis Alÿs and the (Re)presentation of St. Fabiola”
Why Have There Been No Great Modern Religious Artists?
February 8, 2011 | The Museum of Biblical Art, New York, NY
Mirroring the complex presence of religion throughout the 20th century, there has been a proliferation of religious expression in the visual arts. Many of the most prominent and celebrated artists of this century have employed Christian themes, iconography, and forms in their work. However, many of these artists and their works have been ignored, dismissed as aberrant, or condemned as an improper union of incompatible traditional and avant-garde values. The diverse and contradictory manifestations of religious expression in the art of this period, from private devotion, to liturgical practice, to critical commentary, to creative expression pose methodological problems for narratives of modernist and post-modernist art history that have tended to omit serious consideration of Christian strains in 20th century and current artistic practice.
CO-ORGANIZERS
James Romaine (Nyack College)
Rachel Hostetter Smith (Taylor University)
PRESENTATIONS
Christiane Heiser (Museum Boijmans van Beuningen), “Crossed Off: Johan Thorn Prikker, the Avant-garde and the Art Canon”
Bradley Bailey (Saint Louis University), “The Readymade and the Real Presence: Marcel Duchamp and the Blind Man”
Jonathan Wallis (Moore College of Art and Design), “Salvador Dalí’s The Ecumenical Council: A Paranoiac-critical Exegesis”
Amy K. Hamlin (St. Catherine University), “Figuring Redemption: Max Beckmann’s Resurrections”
James McCullough (University of St. Andrews), “Twentieth-Century Grünewald: Reclaiming Graham Sutherland for Twentieth-Century Christian Art”
Rina Arya (University of Wolverhampton), “The A-theology of Francis Bacon”
Herb Hartel (John Jay College, CUNY), “Modernizing, Internalizing and Profaning: The Christian Paintings of Joseph Stella”
Elizabeth Langhorne (Central Connecticut State University), “Jackson Pollock and Religion: The Church Project”
Emily Hage (St. Joseph’s University), “From Text to Collage: Romare Bearden’s Depictions of Biblical Narratives in the 1960s”
Ronald R. Bernier (Wentworth Institute of Technology), “Screening God: Video, Viola, and the Postmodern Sublime”
Isabelle Loring Wallace (University of Georgia), “On Rivalry and Retribution: Sacrifice and Ritual in the Art of Paul Pfeiffer”
Karen Gonzalez Rice (Beloit College), “Collaborative Religiosity: Christian Jankowski’s Holy Artwork”
History, Continuity, and Rupture: A Symposium on Christianity and Art History
May 26–29, 2010 | Le Pavé d'Orsay, Paris, France
Set in Paris, a city both rich in art history and art theory, this inaugural gathering of The Association of Scholars of Christianity in the History of Art (ASCHA) brought together art historians, theologians, artists, and scientists to discuss issues in the 2,000-year history of Christianity and the visuals arts. Papers focused on how methods of research have led to the inclusion, exclusion, and interpretation of Christian content in the visual arts. The symposium concluded with an open discussion of the state of art history as a field of study. Consensus was that currently available methods of research and scholarly associations did not adequately address the diversity and complexity of the history of Christianity and the visual arts. ASCHA was founded to create forums in which issues of Christianity and the visual arts could be critically examined.
CO-ORGANIZERS
Linda Stratford (Asbury University)
James Romaine (Nyack College)
PRESENTATIONS
Rachel Hostetter Smith (Taylor University), “Providence and Plentitude: The Imagery of Abundance in Christian Art and Architecture”
Emily Guerry (University of Cambridge), “Seeing the Saints of Paris: The Martyrdom Murals in the Sainte-Chapelle”
Arthur Pontynen (University of Wisconsin Oshkosh), “Sacred versus Profane Methodologies in Art History”
Natasha T. Seaman (Rhode Island College), “The Theology of Conversion in Hendrick Ter Brugghen’s Doubting Thomas and Calling of Matthew”
Matthew Vanderpoel (University of Chicago Divinity School), “The Pilgrimage of Life: Artistic Innovation in Devotional Art, 1470–1530”
Janet T. Marquardt (Eastern Illinois University), “Renewing Sacred Art for the Twentieth Century: Zodiaque Editions, 1951–2001”
Brent Seales (University of Kentucky), “Rescue and Restoration Through Digitization”
Dayton Castleman (Trinity Christian College), “Tilting at Giants: A Contemporary Artist’s View of the History of Christianity in Art as Resource”
Joyce C. Polistena (Pratt Institute), “The Romantic Impulse for Scenes of The Passion and the Collective Ambition of the Bourgeoisie”
James Watkins (University of St. Andrews), “Tradition as a Response to Tragedy in Guernica: Picasso’s Adaptation of Christian Depictions of Horror”
Ronald R. Bernier (Wentworth Institute of Technology), “In Excess: Jean-Luc Marion, Bill Viola, and the Theological Sublime”
James Romaine (New York Center for Art and Media Studies), “Why is There No Great Contemporary Religious Art?: The Case of Gerhard Richter’s Window for Cologne Cathedral”