Church design today should reflect a deep sense of place and a reverence for local context. The design of a church in a southern desert environment should be quite different than that of a church in the northwest mountains or an eastern coastal environment.
Did you notice the trees at the royal wedding this month? Lots of people did. As Jonathan Jones puts it, “They opened our eyes to the grandeur of a medieval building that might otherwise have struck television viewers as just a dark, lofty old bulwark of church and state.”
Conservative activists and politicians are outraged about an 11-second clip in a 4-minute video that appeared in a privately funded art exhibit held in the Smithsonian, but they are silent when the Governor of Kentucky extends state tax relief to a $150 million dollar religious theme park
“Generally, their systems have been seen as precursors to the theoretical flowering of Greek mathematics, out of which our own mathematical approaches have grown.”
Leaked intelligence / to menu revisions can / lead to anarchy
“Even the very building blocks of the cathedral’s dome structure, a trademark design of Vancouver based Canadian Wooden Domes, are a reflection of Inuit tradition – the Building Committee has described them as ‘igloo blocks,’ and calculated that it will take 765 of them to erect the dome structure.”
Images of saints Peter and Paul – perhaps some of the oldest – were shown last week to reporters in Rome after they were found using laser technology capable of burning off centuries of grime.
A wordless three-month performance piece at the Museum of Modern Art says an awful lot about our hunger for contact.
By the time we encounter most older art on display in a museum it’s been set up in a context that radically manipulates the ways in which we read it. This is especially true in the case of ecclesiastical art. It’s illuminating to contemplate why this doesn’t happen in the display of “The Mourners: Medieval Tomb Sculptures From the Court of Burgundy” at the Metropolitan Museum of Art.