Creating in the Image of God Christian Art in a Modern Culture Kirk Richards

Problems and Themes in the Visual Arts of the Church of Jesus Christ of Latter-mean solar day Saints

Past Eowyn Wilcox McComb

Course Clarification

 The purpose of this form is to examine some of the issues and themes in the visual arts of the Church of Jesus Christ of Latter-Day Saints from its restoration in 1830 to the electric current day, besides equally to explore the position of Latter-Day Saint artwork inside the wider historical and cultural context of western art history.

Each of the thirteen units will interrogate the assumptions in this purpose statement.  There are many unanswered questions: What is Latter-Day Saint art? Who makes it? Who has the right to label an artist or an artwork as Latter-Mean solar day Saint?  Is it appropriate to categorize artists and artworks according to religion? The attempt to categorize or interpret artists by a unmarried trait, such as race, ethnicity, gender, or sexual orientation, risks flattening and simplifying their artwork.  Worse withal, artists who are sorted into such subgroups are rarely considered inside the wider historical and cultural context of their time and among the full range of their creative peers.  Students should call back this throughout the grade, which attempts to consider the problem of "Latter-Solar day Saint art" from many different angles and perspectives.

This issues-based course will explore the problem of the label "Latter-Day Saint art" thematically, rather than in the course of a survey.  Since there has been little concerted effort to trace a chronology of visual arts in the Church of Jesus Christ of Latter-Mean solar day Saints, students will be encouraged to look upwardly more information almost artists, investigate further readings, and etch boosted discussion questions to share with the form. This course aims to innovate students to the many and varied ideas revolving around Latter-Day Saint art with the intent of developing a rich conversation within the classroom.

Course Objectives:

• Students will identify visual artists connected to the Church of Jesus Christ of Latter-Mean solar day Saints and will evaluate their connection with the Church's teachings, beliefs, and culture. Is this connection a valid reason to identify such artists equally "Latter-Day Saint"?

• Students will evaluate the problems of categorizing artists and artwork as "Latter-Day Saint."

• Students will practice comparing the art and artists covered in the course with other artwork and ideas electric current in western art history at the same time.  How are their aims, practices, ideas, and techniques different?  How are they similar, or even the same?

Unit i. Identity: Who is a Latter-Day Saint creative person?

 Slide list:

• Wayne Thiebaud,Cut Meringues, 1961. Oil on canvass, 16" ten 20"

• Paul McCarthy.Bossy Burger, 1991. Performance, video, and installation at Rosamund Felsen Gallery, Los Angeles. BBQ turkey leg, telly, stage set, bowls, cooking utensils, chair, counter, milk, flour, ketchup, mayonnaise, dolls, chef costume, prophylactic Alfred Due east. Neuman mask, and video, dimensions variable.

• Rebecca Campbell.The Magician, 2008-2009. Oil on canvas.

• Carl Hienrich Bloch.Christ Healing the Ill at Bethesda, 1883. Oil on canvass, 100 ¾" x 125 ½"

• Harry Anderson.The Second Coming.

• Jenny Ostraff.Rosebush #iii,2018. Mixed media collage.

• Melinda Ostraff.Ireland Botanicals #10,2018. Encaustic.

• Alexis Fryer Ostraff.White Geranium #1,2018. Monotype.

• Elise Ostraff."Have You Watered the Plants Lately?"2018. Acrylic and oil on wood panel.

Discussion points:

• Does Staniszewski's definition of art as "something made to be seen in galleries, preserved in museums, purchased by collectors, and reproduced within the mass media. . . (with) no intrinsic utilize or value (except) when this artwork circulates within the systems of Fine art. . ." still agree value in the electric current day? What other definitions of fine art exist? How do unlike definitions of "art" change who can exist considered an "artist"?

• Who can exist considered a "Latter-Twenty-four hours Saint creative person?"  Does this term include artists born into fellow member families, like Wayne Thiebaud?  Does it include artists who grew upward immersed in Church culture, like Paul McCarthy, who was born in Salt Lake City and went to higher in Ogden?  Does information technology include artists who were baptized but have since left the church, such as Rebecca Campbell?  Can you include non-LDS artists whose work has been bought and used past the church, such as Carl Hienrich Bloch?  What most artists who are current members of the Church, but whose artwork is primarily abstract or not overtly religious in content, such as Elise, Jenny, Alexis and Melinda Ostraff?

• Is it useful or reasonable to endeavour to categorize artists or their artwork according to religious denomination?  It may be useful to await to other faiths for comparison: Caravaggio painted for the Catholic church building only did not live according to its tenets.  Modigliani is claimed as a Jewish creative person even though none of his artwork was religious in content, and he was Jewish past heritage rather than belief.  What other examples are there in fine art history of artists who painted for religions or were associated with religions of which they were not faithful adherents?  Or examples of artists who were adherents to a organized religion which was dissimilar than that for which they painted or created, such as the Seventh-Day Adventist Harry Anderson, whose artwork was bought by and is still reproduced by the Church building of Jesus Christ of Latter-Mean solar day Saints?  On the other hand, some artists, like Gwen John, strongly identified with their religion and made overtly religious works inside the context of their faith.  Does it brand sense to identify artists similar her co-ordinate to organized religion, or does it withal not make sense when her overtly religious artwork was just a relatively modest portion of her lifetime body of work?

• When is information technology important to know an artist'southward religious heritage?  When is it important to know an artist's religious beliefs?

• Tin or should art which is implicitly critical of or rejects Latter-Twenty-four hours Saint values and teachings, like that of Paul McCarthy, or sometimes Rebecca Campbell, still be included under the full general term "Latter-Day Saint fine art"?

• What can nosotros acquire from artwork that is fabricated outside of the Church's support or approval, but still relates to Latter Day Saint culture and beliefs?

• What part do Latter Day Saint artists play inside the larger civilisation of the Church?

Readings and Resource:

• Staniszewski, Mary Anne. "What is Art?" "Art and the Modern Subject," "the Term 'Art.'"Believing is Seeing: Creating the Culture of Art, Penguin Books, 1995, p. i-118.

• "The Firsthand Present," Lauren Allred Hurtado.The Immediate PresentMormon Arts Centre, 2017. ISBN: 978-0-692-89019-6 (pgs one-13).

• Infanger, Garrick. "Gimmicky Mormon Art: 221 Artist Profiles."http://www.thekrakens.com/2017/03/contemporary-mormon-art-221-creative person-profiles/

• Paul McCarthy.https://art21.org/artist/paul-mccarthy/

Consignment:

• Ascertain "art."  Define "artist."  And so cull 1 of the artworks discussed in form and write an argument for or confronting its status as "Latter Twenty-four hours Saint" art.  Alternatively, make an statement nearly why such a categorization should non be used.

Unit of measurement 2. History: What function do visual arts play in memorializing Latter-Mean solar day Saint history?

Slide List:

• Sutcliffe Maudsley.Lieutenant-General Joseph Smith,1842. Gouache on newspaper.

• Adrian Lamb.Joseph Smith, 1971. Copy after unknown painter, oil on sheet, 29" x 23"

• Trevor Southey.Joseph Smith – Three Views

• Joni Susanto.The Starting time Vision, 1990. Batik, cotton textile.

• Jorge Cocco Santangelo.The First Vision (This is My Beloved Son, Hear Him), 2016. Oil on canvas, 14" ten 30"

• Robert Campbell.Joseph Smith Addressing the Nauvoo Legion, 1845. Watercolor and ink on paper.

• George Ottinger.Brigham Young, 1872. Oil on canvas.

• William W Major.Brigham and Mary Ann Angell Young and Their Children, 1845-1851. Oil on board.

• Danquart Anthon Weggeland.Gypsy Camp, 1875. Oil on canvas.

• C.C.A. Christensen.Handcart Pioneers' Offset View of the Salt Lake Valley,1890. Oil on canvas.

• Minerva Teichert.Betty and the Seagulls.

• Minerva Teichert.Pioneers Arriving.

• Casey Jex Smith.Seer Stone, 2016. Colored pencil on graph newspaper, 7.v" x 7.5"

• Rachel Farmer.Antecedent Nether Wyoming Skies, 2010/2014. Photograph, 16.75" ten 22.5"

Discussion Points:

• Which artists were recording Church building history events as they happened, and which artists were painting or sculpting subsequently the events which they depict?  Does that impact the viewer's perception of the truthfulness or accuracy of the artwork?

• How are the experiences and attitudes of the artist (or the artist's contemporary civilisation) reflected in the mode that she or he presents the past?

• Are contemporary portraits of Church leaders like or dissimilar early portraits of Joseph Smith, Brigham Young, etc.?  How?

• How did artwork being made for the Church or about Church-related subjects past Church members fit in with the wider aesthetic and cultural trends in America?  Was Latter-24-hour interval Saint artwork similar or different than contemporary American artwork? If different, in what means?

• How did the varied levels of professional grooming of Latter-24-hour interval Saint artists impact the way that they chose and displayed Church-related subject field affair in their artwork?

Readings and resources:

• Givens, Terryl.People of Paradox, Oxford Academy Press, 2007, p. 179-189, 325-338.

• "Artistic Interpretations of the First Vision."https://history.lds.org/exhibit/first-vision-art?lang=eng

• Pinborough, January Underwood. "Minerva Kohlhepp Teichert: With a Assuming Brush." Ensign, April 1989.https://www.lds.org/report/ensign/1989/04/minerva-kohlhepp-teichert-with-a-bold-brush?lang=eng

• Henri, Robert.The Fine art Spirit. Westview Press, 1984.

Assignment:

• Choose an artwork that depicts an event in Latter Twenty-four hour period Saint history.  Describe the artwork, the event depicted, the artist who made it, when it was fabricated, and for what purpose.  Critically evaluate whether the artwork is an accurate depiction of the historical event.  How does the artwork translate the event? Is information technology a successful piece of art? Why or why non?

Unit 3. Adam and Eve: Why are Adam and Eve important archetypes for artists?

Slide List:

• Annie Henrie Nader. Leaving Eden, onetime between 2010-2018.

• J Kirk Richards.Eve and the Fruit of the Tree of Knowledge,2016. Oil on panel.

• Samuel Evensen.Come Irksome- Eden!2018. Oil and pastel on paper.

• Trevor Southey.Eden Farm, 1976. Oil on board.

• Caitlin Connolly.Girl with Space to Autumn, 2016. Bronze on marble, 12" x 7" x 8"

• Suzanne Valadon.Adam and Eve, 1909.  Oil on canvas.

• Mahmoud Said.Adam and Eve, 1937. Oil on canvas, 31 1/8" x 22"

• Paul Gauguin.Eve, 1898-99. Woodcut on light brown wove paper, 12 one/16" ten viii 13/16"

• Peter-Paul Rubens.Adam and Eve, copy after Titian, 1628-29. Oil on canvass.

• Lucas Cranach.Adam and Eve, 1530. Pair of oil on panels, each 75" 10 17 ½"

• Albrecht Durer.Adam and Eve, 1504.  Engraving, 9 seven/8" x 7 seven/8"

Discussion Points:

• Compare depictions of Adam and Eve by Latter-Day Saints to other artists' depictions of Adam and Eve. What similarities and differences are there between the varied and diverse paintings?  Are in that location whatever distinct differences in Latter Day Saint depictions of Adam and Eve that draw on the business relationship of their narrative given in the book of Moses equally translated by Joseph Smith?

• How does the gender, ethnicity, and organized religion of the artist affect her or his rendering of the Adam and Eve narrative?

• Why are Adam and Eve important archetypes for painters throughout history and across many different cultures and religious denominations?

Readings and resources:

• The narrative of Adam and Eve as recounted in Genesis chapters two-iii, and Moses chapter five.

• Solnit, Rebecca. "Every bit Eve Said to the Serpent."Equally Eve Said to the Snake: On Landscape, Gender, and Art, University of Georgia Press, 2003, p. 1-14.

• "Samuel Evensen: In the Loftier Noon of the Heavenly Garden." Writ and Vision, 2018.http://world wide web.writandvision.com/samuel-evensen-in-the-high-noon-of-the-heavenly-garden

Assignment:

• Write a short newspaper interpreting an artistic depiction of Adam and Eve.  How did the artist choose to testify the narrative?  Does the creative person'southward gender, ethnicity, religious amalgamation, nationality, or historical flow touch her or his depiction of the narrative?  What is unique about this artist's depiction of the narrative?  What calorie-free does the artist's interpretation shed on the narrative?

Unit 4. Gender Function 1 – Masculinity: How is the masculine ideal portrayed in Latter-Day Saint artwork?

Slide List:

• Arnold Friberg.Immature Nephi Subdues his Rebellious Brothers.

• Arnold Friberg.Tales of the Force.

• Arnold Friberg.Moses Defending the Daughters of Jethro.

• Tom Lovell.Moroni Hides the Plates in the Hill Cumorah.

• Tom Lovell.Below Deck, 1950. Gouache, 15.2" x 32"

• Del Parson.American Prophet, 1999. Oil on canvas.

• Walter Rane.Alma Arise, 2000. Oil on canvas, 56" x l"

• Trevor Southey.Igor. Oil on canvas, 84" x threescore"

• Trevor Southey.Reconciliation. Oil on canvas, 48" x 48"

• Rebecca Campbell.In the Catbird Seat. Oil on sheet, 78" ten 129"

• Casey Jex Smith. Looking Twice, 2018. Colored Pencil on newspaper, 7.5" x 10"

Discussion Points:

• Did the early careers of artists similar Arnold Friberg (who painted sets for Hollywood films) or Tom Lovell (who did commercial illustration) affect the artwork which they made for the Church?

• How do the male figures within the artwork of Arnold Friberg, Tom Lovell, Walter Rane, and Harry Anderson, among others, reflect the gender standards of the fourth dimension in which they were painted?

• What other artists have engaged in creating a visual culture in the church of muscular white men?

• How does this kind of imagery affect the manner boys and young men in the Church see themselves and their future roles?

• Why has the Church supported so many artist-illustrators who uniformly portray male scriptural office-models as extremely muscular, conventionally masculine, well-clean-cut, and ofttimes clean-shaven?

• Are at that place differences in the mode masculinity is portrayed by artists who are or were members of the Church but whose artwork has non been bought, commissioned, or distributed past the Church?

Readings and resources:

• Christoffersson, D. Todd. "Let Us Exist Men," General Briefing, October 2006.https://www.lds.org/general-conference/2006/10/permit-us-be-men?lang=eng

• Kimball, Richard. "Muscular Mormonism,"International Journal of the History of Sport, 25.5, 2008, p. 549-578.

• Sumerau, J.Eastward., Cragun, Ryan T., and Smith, Trina. "Men Never Cry: Education Mormon Manhood in the Church of Jesus Christ of Latter-Twenty-four hour period Saints,"Sociological Focus, 50.3, 3017, p. 213-217.https://drive.google.com/file/d/0BzZBZGq02g8ZbWV3RUxUUkpwMVE/view

Assignment:

• Interview a male member of the Church of Jesus Christ of Latter-Twenty-four hours Saints nigh his favorite artwork which he encountered in a Church context or Church publication. Have him describe the subject of the artwork, the style, and what defenseless his attention.  What influence, if any, did this image accept on his feelings about manhood? If a figure or figures in the artwork he chose was male, would he consider that figure to represent a masculine ideal?  Expand on the field of study with other questions, and write an evaluation of the interview and the artwork discussed.  Requite historical background on the artwork, creative person, and discipline matter, when advisable.

Unit v. Gender Part II – Femininity: What does artwork made by female artists reveal about their human relationship to the Church of Jesus Christ of Latter-Twenty-four hour period Saints?

Slide List:

• Mary Teasdel.Mother and Child, 1901. Oil on canvas, 37" x xxx.v"

• Minerva Teichert.Queen Esther, 1939. Oil on canvas.

• Elspeth Immature.A Labor of Love: Evelyn Kleinert. Oil painting.

• Rebecca Campbell.Favorite Things, 2006. Oil on canvass, 102" 10 123"

• Rebecca Campbell.Daddy Daughter Appointment, 2008. Oil on sheet, 90" x 67"

• Angela Ellsworth.Seer Bonnets, 2008-to present. Ongoing series of sculptures of bonnets pierced with thousands of pearl-tipped pins.

• Lee Udell Benion.Annunciation, peradventure 1990s. Oil on canvas.

• Eowyn Wilcox McComb.Samantha, 2011.  Graphite on paper, 18" 10 24".

• Caitlin Connolly.Creation of Adult female,2016. Found object, oil transfer, and acrylic paint. Edition of 2, 11.5" 10 10"

• Kathleen Petersen.The Art of Washing.

• Annie Henrie Nader.Dawning Light.

• Jean Richardson.Fault Lines Amended,2017.   Plates, epoxy resin, gilt lacquer, 36" ten 72"

• Rachel Farmer.Ancestors Traversing Quilts (detail), 2017. Site-specific installation including ceramic, material, batting, and yarn. 77 x 258 10 twenty in. Photo: Etienne Frossard

Discussion points:

• Compare and dissimilarity artwork by women artists which may exist considered disquisitional of feminine roles in the Church building with that of women whose work advocates for traditional roles for women.  From whom do they receive support?  Is there a divide within the Church betwixt women who criticize proscribed female person roles and those who embrace them?  Are in that location women artists with a relationship to the Church whose work does not engage in overt word of gender roles?

• Is the Church's back up of the arts gender-equitable?  Practise more than male artists than female artists get bought or commissioned by the Church or its related institutions?  Practise male artists in the Church earn more money for their artwork?

• Does making artwork that includes female person bodies or faces automatically make that artwork "feminist," or "feminine" in subject matter?  For instance, are there differences betwixt the schematic female representations of women in Brian Kershisnik's piece of work and that of Ciatlin Connolly or Kathleen Petersen?

• Exercise female artists in the Church confront more than or dissimilar obstacles to making and sharing their work than male artists?

• In the history of Western painting, women accept more than frequently been portrayed passively than men.  Is this true of artwork displayed past the Church or made by Church members?  If so, is information technology more evident in artwork made by men, or practice both male and female artists still engage in actively portraying gender difference and proscribed gender roles in their artwork?

Readings and resources:

• Jensen, Heather Belnap. "Aesthetic Evangelism, Artistic Sisterhood and the Gospel of Beauty."Mormon Women's History: Beyond Biography, edited by Rachel Cope, Amy Easton-Flak,Keith A. Erekson, and Lisa Olsen Tait, Fairleigh Dickinson University Press, 2017, p. 141-165.

• Staniszewski, Mary Anne. "The Privilege: Creating Art."Believing is Seeing: Creating the Culture of Art, Penguin Books, 1995, p. 125-159.

• Uchdorf, Dieter S. "Happiness, your Heritage." October 2018,https://world wide web.lds.org/general-conference/2008/ten/happiness-your-heritage?lang=eng

• Brooks, Kimberly. "Fearfulness and Faith: the Art of Rebecca Campbell."Huffington Post,March eighteen, 2010,https://www.huffingtonpost.com/kimberly-brooks/fearfulness-and-faith-the-art-of_b_336941.html

• Hebron, Micol. "Gallery Tally."http://gallerytally.tumblr.com/

• Guerilla Girls.https://www.guerrillagirls.com/

Assignment:

• Create a gallery tally poster for a Church building-endemic or Church related establishment or publication.

Unit of measurement 6. Images of Christ

Slide List:

• Unknown artist or artists.Hinton St. Mary Mosaic, early 4thcentury. Ceramic tile mosaic.

• Giotto.Lamentation, 1304-1306. Fresco.

• Dieric Bouts.Resurrection,1455. Distemper on linen, 35 3/8" x 19 ¼"

• Hans Memling.Christ Giving His Approving, 1478. Oil on oak panel, xv ane/8" x 11 i/8"

• El Greco (Domenico Theotokopoulos).Christ on the Cross, 1600-1610. Oil on sheet, 32 ½" 10 20 3/8"

• Caravaggio.Ecce Homo, 1605.  Oil on canvas, fifty" x 41"

• Artemisia Gentileschi (attributed to).Christ Approving the Children, 1624-1625. Oil on sheet, 52" x 38"

• Rembrandt van Rijn.Head of Christ, 1648. Oil on canvass, nine.8" x 8.5"

• Sir John Everett Millais.Christ in the Firm of his Parents (The Carpenter'south Shop), 1849-l. Oil on canvas, 34" x 55"

• Paul Gaugin.The Yellow Christ, 1889. Oil on canvas, 35.nine" x 28.ix"

• Emile Nolde.Das Lieben Christi (The Life of Christ), 1911-1912.  Altarpiece made up of nine oil paintings.

• Marc Chagall.White Crucifixion, 1938. Oil on canvas, 60 vii/8" x 55 1/16"

• William H Johnson,Lamentation, also known asDescent from the Cantankerous, 1944.

• Marking Wallinger.Ecce Homo, 1999. Life-size resin cast sculpture.

• J Kirk Richards.Cristo,2014. 161 paintings in oil and acrylic on panel, dimensions variable - installation dimensions twenty' ten twoscore'

• Jorge Cocco Santangelo.The Tempest—Peace Be Withal,2016. Oil on canvas, thirty" x 40"

• Trevor Southey. Crucifix. Oil on rag, xl" ten thirty"

• Walter Rane.Jehovah Creates the Earth, 2000. Oil, 67" x 44"

• Harry Anderson,In the Clouds of Heaven.

• Warner Sallman.Caput of Christ, 1940.

• Del Parson.Christ in a Carmine Robe.

• Simon Dewey.The Lord is my Shepherd.

• Liz Lemon Swindle.Against the Wind.

• Greg Olsen.Worlds Without Terminate.

Give-and-take questions:

• How is Christ represented throughout history? How does the depiction of His physical form depend on the artist'south religious or cultural experiences? In what activities is He shown engaging?  What points of His life are virtually often depicted by artists? What practice we acquire about Him from these images?

• Are Latter-Mean solar day Saint images of Christ unique in any ways?  Practise the teachings of the Book of Mormon, Doctrine and Covenants and Pearl of Smashing Price influence or change Latter-24-hour interval Saint depictions of Christ?

• How does the style in which Christ is depicted influence the viewer's perception of the artwork?

• Are images of Christ made by non-religious artists unlike than images of Christ made by religious artists? Are there differences in the way Christ is depicted that can be attributed to the specific backgrounds of artists who belong to different religious denominations?  Are whatever of these differences obvious to an observer who knows nothing of the artist'south background or organized religion or lack of faith?

Readings:

• "Should Christ Wait like a Lawn tennis Thespian or a Moving picture Star?"http://www.thoughtsonmormonart.com/questions/should-christ-look-like-a-tennis-thespian-or-movie-star/

• Probert, Josh E. "Inculturating Christ: Images of Christ throughout History."Art and Spirituality: the Visual Culture of Christian Organized religion, BYU Studies, 2008, p. 29-42.

• Heuman, Jay. "The Crucifixion: Modern Latter-Day Saint and Jewish Depictions."Fine art and Spirituality: the Visual Culture of Christian Faith, BYU studies, 2008, p. 172-186.

• Infanger, Garrick. "Big Mac Mormonism."The Immediate Nowadays, Mormon Arts Heart, 2017, p. 29-30.

Assignment:

• Cull an artwork depicting Christ by a Latter-Twenty-four hours Saint artist and choose some other depiction of Christ past an creative person not associated with the Church.  Compare these 2 images, and evaluate the similarities and differences betwixt them.

Unit seven. Ethnic and Racial Multifariousness: Does Latter-Day Saint artwork reflect the diversity of members  in the Church?

Slide Listing:

• Brian Kershisnik.Nativity, 2006.  Oil on canvas.

• John Walter Scott.Jesus Christ Visits the Americas,1969.Oil on sail, 47" x 121"

• Harry Andersen.Second Coming, 1969-1970. Oil on canvas.

• J Kirk Richards.Eve Offers the Fruit, 2015 or 2016. Oil on canvas, xiii 1/2" x 12"

• Jorge Cocco Santangelo.Rise, 2018.  Oil on canvas, 40" x 30"

• Caitlin Connolly.We are all Part of God's Family, 2016.

• Eowyn Wilcox McComb.Cortney's Book, 2019. Oil on canvas, 9" x 12"

• Elspeth Immature.Till Nosotros Meet Over again,2013. Oil painting, 37 ¾" x61"

• Elspeth Young.And M Didst Hear Me, 2012.  Oil painting.

Give-and-take questions:

• Does artwork endemic and distributed past the Church of Jesus Christ of Latter-Day Saints reflect the diverse races and ethnicities of its world-wide members?

• Does the Church do anything to encourage greater representation of non-white artists?

• While creche festivals and the Church history museum'due south earth-broad art competition encourage and gloat variety, at what other times is the artwork of not-white artists viewed, reproduced or seen within the context of the Church building?

• Is it appropriate for the Church to own and reproduce artwork such equally Kershisnik'sNativity or Anderson'sSecond Coming,which represent heavenly angels as all white-skinned?  Is information technology also appropriate for the Church to continue to reproduce artwork similar Scott's paintingJesus Christ Visits the Americas, which has been criticized for its lack of cultural and historical accuracy? How does the prevalence of lite skinned models in artwork used within the Church to teach the scriptures touch on the views and feelings of members who identify as non-white?

Readings and Resources:

• "Review ofThe Color of Christ," by Tom Simpson in the Mormon Studies Review 2 (2015): 139–144.

  https://publications.mi.byu.edu/publications/msr/2/simpson-review_blum-harvey.pdf

• Cleverly, J. Michael. "Mormonism on the Big Mac Standard."Dialogue: Journal of Mormon Thought, 29, no. two (Summertime 1996) -https://www.dialoguejournal.com/wp-content/uploads/sbi/articles/Dialogue_V29N02_89.pdf

• Multicultural Mormonism – 2017 Mormon Studies Briefing -https://www.uvu.edu/philhum/affiliated-programs/religious-studies/multicultural/schedule_1.html

Assignment:

• Make a gallery tally of persons of colour (either as creators or as subjects) included in Church museums, the gospel art library, or another Church-related establishment or publication.

Unit 8. The Church building and the Arts: What is the Church building of Jesus Christ of Latter-Day Saint'due south relationship to the visual arts?

 Slide Listing:

• Photographs of nativities from a Latter-Twenty-four hours Saint creche festival

• 11th International Arts Contest -https://www.youtube.com/lookout man?five=cXdnbUUu71g

• Latter Solar day Saint Visitor'south Center

• Latter Day Saint Temples

• BYU MoA

• Latter-Day Saint Gospel Fine art Library -https://www.lds.org/media-library/images/categories/gospel-fine art?lang=eng

Discussion Points:

• What relationship has the Church had with the visual arts from the early restoration to the present mean solar day?

• When has artwork been commissioned by the Church, and how was that procedure managed?  Which artists does the Church support?  What types of artwork does the Church choose to display, and how, and where?

• What upshot did correlation have on the visual arts in the Church?

• Why are original artworks not allowed within the halls of most Latter-Day Saint coming together houses? Why does the Church building cull to display printed canvas reproductions of paintings instead?  How are these paintings selected and displayed, and to what purpose?

• What elements are necessary for Latter Day Saint artists to flourish?  The author of "Thoughts on Mormon Art" suggests that information technology is patronage, while the writer of "Where are All the Mormon Art Critics" suggests that it is salubrious criticism from knowledgeable viewers and writers. What other things might be missing that would be needed for healthy product of the visual arts? Access to excellent art collections for study, for example ---or good training, encouragement, respect for one's vocation, a community of peers, and interested and invested audiences?  Can the Church (or its community of members) currently supply these things to artists?  Should the Church or the wider community of church building members feel responsible for meeting any of these needs?  Why or why not?

• Tin can the Church be considered a adept or bad patron of the arts?  Why?

• Is it reasonable for the Church to ban nudity from its museums, programs, and reproductions?

Readings and Resource:

• "The Gospel Vision of the Arts," past Spencer West. Kimball,

• "Arts and the Spirit of the Lord," by Boyd K Packer

• "Is Utah upholding Brigham Immature's Arts Legacy?" by Michelle Garrett Bulsiewicz https://www.deseretnews.com/article/865683380/Is-Utah-upholding-Brigham-Youngs-arts-legacy.html,

• "What is the Temple Art Committee?" on http://www.thoughtsonmormonart.com/

• "The Church as  Art Patron" – Mormon Arts Eye Festival, June 28, 2018 -https://world wide web.youtube.com/sentinel?five=r8IzdMTYkG4

• "A Mormon Michelangelo?" fromhttp://world wide web.thoughtsonmormonart.com/

• "Where are All the Mormon Fine art Critics?" outset published in February 2016 onhttps://world wide web.mormonartistsgroup.com/new-web log/

Assignment:

• Interview a member of the Church of Jesus Christ of Latter-Twenty-four hour period Saints nigh her or his relationship with the artwork that they come across at church, in the temple, and in church publications and institutions.  Students should prepare their ain list of questions.  Some examples might include: What memories does the viewer have of the art pieces they have interacted with?  What emotions practise the artworks evoke?  How has the visual art of the church building shaped the viewer'due south understanding of the church'southward values and teachings?  If the viewer is a convert to the gospel, how would they compare their experience with visual art in the Church of Jesus Christ of Latter-Day Saints to the previous church they attended (if any)?

Unit nine. Appropriation: Is information technology advisable for the Church to annex artwork from other Christian denominations?

Slide Listing:

• Bertel Thorvaldsen.Christus,1838. Sculpture, Carrera marble.

• Carl Heinrich Bloch.Christ Healing the Ill at Bethesda,1883. Oil on canvas, 100 ¾" 10 125 ½"

• Carl Heinrich Bloch.Peter's Denial.

• Carl Heinrich Bloch.Jesus Healing the Blind Man.

• Hienrich Hoffman.Christ and the Rich Immature Ruler, 1888. Oil on canvas.

• Hienrich Hoffman.Christ's Image.

• Hienrich Hoffman.The Boy Jesus in the Temple.

• Harry Anderson.The Second Coming.

• Harry Anderson.John the Baptist Baptizing Jesus.

• Harry Anderson.Christ in Gethsemane.

Give-and-take Questions:

• Is artwork changed by taking abroad the context for which it was originally made and placing it inside a new context?

• Is information technology important to know the creative person'southward cultural and religious background when looking at a religious piece of work of art?  Can artwork made past an artist who belongs to a different denomination exist seen the way the artist intended by an audience who holds dissimilar doctrinal beliefs?  How much does the intention of the creative person affair to the viewer when she or he encounters a piece of artwork?

• Is it moral to advisable artwork by an creative person who is already expressionless and cannot give input or consent to the fashion his or her artwork is displayed or reproduced or to reserve the rights to display and reproduce that artwork within a context for which the artist had not originally intended his or her artwork?

Readings and Resources:

• Richardson, Matthew O. "Bertel Thorvadldsen'sChristus: A Latter-Day Saint Icon of Christian Show."Art and Spirituality: The Visual Culture of Christian Faith, BYU Studies, 2008, p 188-201.

Consignment:

• Choose a popular artwork currently owned or reproduced by the Church that was non made past a fellow member-creative person. Research the artwork and the artist who made information technology.  Brand a personal judgement whether or not it is appropriate for the Church to utilize that artwork in the context in which it is currently being used. Explain your position.

Unit ten. Context: What spiritual and religious artwork have been made by artists outside of the Church since its restoration in 1830?

Slide List:

• Jan Styka.The Crucifixion, 1897. Panoramic oil on canvas, housed in the Hall of the Crucifixion at Forest Lawn Memorial Cemetery, Glendale, CA.

• Albert Pinkham Ryder.The Race Track (Expiry on a Pale Horse),1900.  Oil on canvas, 27 3/four" x 35 7/16"

• Henri Matisse.Rosary Chapel, 1951. Paintings on tile, stained glass.

• Mark Rothko.Rothko Chapel, 1964-1970 (Edifice opened in 1971). Series of paintings, oil on canvas.

• Ana Maria Pacheco.Study of Head (John the Baptist 3), 1992. Sculpture, polychromed wood, 31.8 x 50.8 x 74 cm

• Andres Serrano,Piss Christ, likewise known equallyImmersion, 1987. Photograph, v' 10 3'4"

• Chris Ofili.The Holy Virgin Mary, 1996. Acrylic, oil, polyester resin, paper collage, glitter, map pins and elephant dung on sheet, 96" 10 72"

• James Turrell.Greet the Light, 2012. Skyspace in the Anecdote Hills Quaker Meeting Firm, Philadelphia.

• Neb Viola.Martyrs (Earth, Air, Fire, Water), 2014. Video installation at St. Paul'due south Cathedral, England.

Give-and-take questions:

• Are other Christian denominations more supportive of the visual arts than the Church?

• Consider whatsoever differences in fashion and discipline matter betwixt the artwork discussed in this unit and the previous units.  Are artists outside of the Church more formally or conceptually daring than artists who belong to the Church?  If so, why might this exist?

• How is spiritual subject affair treated differently by artists from different religious backgrounds, or artists who lack a religious groundwork?

• How does the context of a religious or spiritual artwork affect the way it is seen and experienced?

• Are there differences between artwork made to be shown in a religious setting such equally a church building, and artwork with religious subject field matter that was fabricated to be shown in a commercial or educational space such equally a contemporary art gallery or museum?

Readings and resources:

• "Bill Viola: Martyrs."http://billviolaatstpauls.com/martyrs

• Morgan, David. "Introduction."The Sacred Gaze: Religious Visual Culture in Theory and Practice. University of California Printing, 2005, p. 1-21.

• Paglia, Camille."Religion and the Arts in America,"https://www.bu.edu/arion/files/2010/03/Paglia-Religion-and-the-Art.pdf

• PBS Art 21 documentary "Spirituality" – Flavor 1, aired September 2001

  https://art21.org/watch/fine art-in-the-xx-beginning-century/s1/spirituality/

Assignments:

• Write your reaction to one of the pieces you lot encountered during the class word.  What feelings did the artwork prompt? What did you learn about the artist and the creation of the piece? Does knowing more most the artwork alter your initial feelings about it?  How does religious and/or spiritual artwork being made outside of the Church compare to artwork fabricated within the Church?  Are formal or conceptual standards dissimilar for artists within and without the Church?

Unit 11. The Function of the Artist: What is the artist'southward purpose?

Slide List:

• Create the Perfect Self-Portrait.  "Mormonad," photo, August 1996 New Era.https://world wide web.lds.org/media-library/images/mormonad-self-portrait-1118275?lang=eng

• Lee Udell Bennion.Self with Adah,1993. Oil on linen, 30" x 24"

• Brian Kershisnik.Wounded Saint.  Oil painting.

• Rebecca Campbell.Vote for Me,2006. Acrylic on painted paper, triptych.

• J Kirk Richards. Self-Portrait at 33 (One Good Center), 2008.  Oil on panel, 9.v" ten 26.5"

• Eowyn Wilcox McComb.The Monastery Garden, 2017-2018. Oil on console, 11" ten 14".

Give-and-take Questions:

• Is "the value of painting" and the other visual arts "establish in the individual way of seeing things," as Giorgio Morandi claimed, or is its value in the service of teaching or promoting an ideal (such as the gospel)?

• Are there potential conflicts between being an artist and a member in skilful standing with the Church?

• Is existence a religious artist anachronistic in the context of modernistic and contemporary art?

• What function exercise artists play within the Church building of Jesus Christ of Latter-24-hour interval Saints?  What role do artists play within contemporary society? What is the purpose of fine art today?

• Why have at that place been so few LDS artists who are well known both inside and exterior of the Church context?

• Is the Church an example of a supporter and patron of the arts who encourages the development of its artist-members?

• Is at that place a disharmonize between gimmicky art and genuine religious feeling?

• Does the Church practise censorship or other forms of discipline on artists or artwork that it does not approve of?

Readings:

• Merleau-Ponty, Maurice. "Cezanne's Incertitude."The Merleau-Ponty Aesthetics Reader: Philosophy and Painting, Northwestern University Press, 1993, p. 59-75

• Winterson, Jeanette. "What is Art For?"http://www.jeanettewinterson.com/journalism/what-is-art-for/

• Winterson, Jeanette. "Liza Lou" http://www.jeanettewinterson.com/journalism/liza-lou/

Assignment:

• Write a personal interpretation of the role of the artist in society, in the globe, and in religion. Explain your position and use examples and references wherever possible.

Unit 12. Formalism and Mode: How do the formal qualities of spiritual artwork impact their reception?

Slide List:

• Daniel Everett. Untitled, 2014. Inkjet print, 42" x 34"

• Levi Jackson.Esterbend, 2015. Single-aqueduct video, running length three.5 minutes, edition of 5.

• Paige Crosland Anderson.The Sum of Our Ceremonies, 2016. Oil on panel, 58" ten 48"

• Jorge Cocco Santangelo.Angel v. Oil on canvas, sixteen" x 12"

• Nick Stephens.Wise Human being, Foolish Homo, 2016. Acrylic and oil on board, 30" x seventy"

• Pam Bowman.Many Small Things (through) I and Two,2017. Cotton rope, steel, 45" x 30" 10 20" and 6' x 3' x vi'

• Chase Westfall.Untitled (Veil), 2017. Oil on linen, 60" x 96"

• Lisa DeLong.Baptism, 2018.  Hand-made watercolors, gilt leaf and ink on marbled newspaper.

Discussion Questions:

• Define religious artwork. Is it the same as spiritual artwork?  How practise our definitions of "religious" and "spiritual" affect the style nosotros wait at and categorize artwork, especially artwork made by artists with strong ties to religion?

• How visible and supported are formalist, bathetic, or abstract paintings, sculptures, and other forms of art within Church institutions or the Church building customs at big?

• Jorge Cocco Santangelo identifies his artwork as "sacred cubism," only his paintings still use traditional perspective despite having highly stylized, flattened forms that are inspired by and reminiscent of Braque, Gris, and other cubist painters.  Is information technology problematic for him or the Church building history museum to claim his connection with the historical idea of cubism if his piece of work does non fully fit within the original programme of that movement?  What happens when an artist or establishment portrays their relationship to art history in a way that is non accurate? Why might it crusade a problem for the creative person, the institution, or viewers of the mis-represented artwork?

• Do the formal choices of Latter-Solar day Saint artists reverberate the cultural trends of the Church building?  For example, Kershisnik, Richards, Connolly, Petersen and Barney, among others, all paint simplified human figures with little or no facial or bodily differentiation to individualize them.  Tin can these mainly white, largely homogenous, and simplified figures be claimed to reverberate the attitudes of the Church towards individuality and unity?  Do they reflect the civilisation of the Church building in Utah?  Or do they stand for the views of each individual artist on the roles of the individual and group?  What do the similarities between these artists' paintings suggest?  Is the human relationship and possible conflict between the individual and the group an important theme for Latter-Day Saint artists?

• Why does the Church building focus more on reproducing representational paintings and sculptures rather than including abstract painting s and other media in their drove?

• Is abstraction a better formal construction than representation for communicating spiritual concepts? The history of abstraction has been tied to ideas of spirituality almost since the first of its modern origins, with pioneering artists like Wassily Kandinsky (who wroteApropos the Spiritual in Art) pointing out the connection between form and spirit.  Could abstruse artwork be used to teach spiritual concepts in a church setting alongside representational artwork that is used to teach scripture stories and historical events?

Readings and Resources:

• Merleau-Ponty, Maurice. "Heart and Mind."The Merleau-Ponty Aesthetics Reader: Philosophy and Painting, Northwestern University Press, 1993, p. 121-149

• Lisa DeLong TEDx talk on geometryhttps://www.youtube.com/lookout man?five=ePbgGkhLBho

Assignment:

• Write an essay arguing whether representational or abstract artwork is a better ways of portraying the divine and the spiritual.  Use examples wherever possible.

Unit thirteen: Concluding Projection and Presentations

Project Options:

• Interview a "Latter-Day Saint" artist.  Explain who yous chose to interview and why you lot consider she or he to be a Latter-Twenty-four hour period Saint artist. Come upward with your own list of questions, including whether the artist considers herself or himself to be a "Latter-24-hour interval Saint artist" and how he or she feels most that term.

• Curate an imaginary "Latter-Mean solar day Saint Art" show, complete with a title list and a prove statement that explains the concept of "Latter-Day Saint art," and why you lot chose those item art pieces as examples of that concept.

• Make a booklet or website of "gallery tallies" for the Church building.  Explicate what tally choices you made and why.  What characteristics do your tallies show about Latter-Day Saint art? Write an accompanying analysis of your tallies.

• Research an unknown LDS artist and introduce her or him to the class through the creation and presentation of a website, short biography, or fine art show proposal.  The artist could be a well-known effigy whom the pupil did not know was a member of the Church, or it could exist an artist who the student knew was a member of the Church building, merely is currently nether-recognized.  Explore the relationship of this creative person to the Church, and effort to identify whether or not thisartist should exist categorized as a "Latter-Day Saint creative person," and why.

July ix, 2019

Eowyn Wilcox McComb, Wayne Thiebaud, Paul McCarthy, Rebecca Campbell, Carl Heinrich Bloch, Harry Anderson, Jenny Ostraff, Melinda Ostraff, Alexis Fryer Ostraff, Elise Ostraff, Mary Anne Staniszewski, Garrick Infanger, Sutcliffe Maudsley, Adrian Lamb, Trevor Southey, Joni Susanto, Jorge Cocco Santangelo, Robert Campbell, George Ottinger, William Due west. Major, Danquart Anthon Weggeland, C. C. A. Christensen, Minerva Teichert, Casey Jex Smith, Rachel Farmer, Terryl Givens, Jan Underwood Pinborough, Annie Henrie Nader, J Kirk Richards, Samuel Evensen, Caitlin Connolly, Suzanne Valadon, Mahmoud Said, Arnold Friberg, Tom Lovell, Del Parson, Walter Rane, Mary Teasdel, Elspeth Young, Angela Ellsworth, Lee Udell Bennion, Jean Richardson, Heather Belnap Jensen, Kimberly Brooks, Brian Kershisnik, Daniel Everett, Levi Jackson, Page Anderson, Pam Bowman, Chase Westfall, Lisa DeLong

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Source: https://www.centerforlatterdaysaintarts.org/college-courses-on-latterday-saint-arts/2019/7/9/issues-and-themes-in-the-visual-arts-of-the-church-of-jesus-christ-of-latter-day-saints-eowyn-wilcox-mccomb

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