ection>art for faith’s sake series
series editors:
Clayton J. Schmit
J. Frederick Davison
This series of publications is designed to promote the creation of resources for the church at worship. It promotes the creation of two types of material, what we are calling primary and secondary liturgical art.
Like primary liturgical theology, classically understood as the actual prayer and practice of people at worship, primary liturgical art is that which is produced to give voice to God’s people in public prayer or private devotion and art that is created as the expression of prayerful people. Secondary art, like secondary theology, is written reflection on material that is created for the sake of the prayer, praise, and meditation of God’s people.
The series presents both worship art and theological and pedagogical reflection on the arts of worship. The series title, Art for Faith’s Sake,1* indicates that, while some art may be created for its own sake, a higher purpose exists for arts that are created for use in prayer and praise.
other volumes in this series:
Senses of the Soul by William A. Dyrness
Dust and Prayers by Charles L. Bartow
Dust and Ashes by James L. Crenshaw
Preaching Master Class by William H. Willimon
Praying the Hours in Ordinary Life by Clayton J. Schmit and Lauralee Farrer
Mending a Tattered Faith: Devotions with Dickinson by Susan VanZanten
Blessed: Monologues for Mary by Jerusha Matsen Neal
Senses of Devotion: Interfaith Aesthetics in Buddhist and Muslim Communities by William A. Dyrness
forthcoming volumes in this series:
Dance in Scripture: How Biblical Dancers Can Revolutionize Worship Today by Angela M. Yarber
ReVisioning: Critical Methods of Seeing Christianity in the History of Art edited by James Romaine and Linda Stratford
1*Art for Faith’s Sake is a phrase coined by art collector and church musician, Jerry Evenrud, to whom we are indebted.
Sanctifying Art
Inviting Conversation between Artists, Theologians, and the Church
Deborah Sokolove
SANCTIFYING ART
Inviting Conversation between Artists, Theologians, and the Church
Art for Faith’s Sake 9
Copyright © 2013 Deborah Sokolove. All rights reserved. Except for brief quotations in critical publications or reviews, no part of this book may be reproduced in any manner without prior written permission from the publisher. Write: Permissions, Wipf and Stock Publishers, 199 W. 8th Ave., Suite 3, Eugene, OR 97401.
Cascade Books
An Imprint of Wipf and Stock Publishers
199 W. 8th Ave., Suite 3
Eugene, OR 97401
www.wipfandstock.com
ISBN 13: 978-1-62032-633-6
EISBN 13: 978-1-62189-752-1
Cataloging-in-Publication data:
Sokolove, Deborah
Sanctifying art : inviting conversation between artists, theologians, and the church / Deborah Sokolove.
xii + 190 p. ; 23 cm. — Includes bibliographical references and index(es).
Art for Faith’s Sake 9
ISBN 13: 978-1-62032-633-6
1. Subject. 2. I. Series. II. Title.
call number 2013
Manufactured in the U.S.A.
“Asphodel, That Greeny Flower” by William Carlos Williams, from THE COLLECTED POEMS: VOLUME II, 1939–1962, copyright © 1944 by William Carlos Williams. Reprinted by permission of New Directions Publishing Corp.
“Small Blue Poem #2” by David Harris, from Streetcorner Majesty, copyright © 2009 by David Harris. Reprinted by permission of David Harris.
Scripture quotations are from New Revised Standard Version Bible, copyright 1989, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.
Foreword
I am certain that I met Deborah Sokolove when she became Artist-in-Residence and Curator of the Dadian Gallery at Wesley Theological Seminary in 1994, but she didn’t fully register on my radar screen until she registered for my course. The course was The Hebrew Bible and the Arts. I believe this was the third time I had taught the course.
Now, I had been Professor of Hebrew Bible at Wesley for twenty-three years at that point, and this was not a course I imagined teaching when I first finished my graduate work. But I happened to come to Wesley in time for the beginning of an unusual romance between theological education and the arts. Due to the persistence and vision of an artist named Catherine Kapikian, a program bringing the arts into the life of a theological school had been founded and was flourishing by the early 1990s at Wesley. One aspect of that program, encouraged by a Luce Foundation grant, was to integrate the arts into the full curriculum of theological education. Wesley had quality courses in the arts, but this was an effort to use the arts as a resource in many other disciplines of theological education, and I was an enthusiastic participant in this enterprise.
Except for some early education and participation in theater arts and a lifetime of singing regularly with groups, I had no formal training in the arts. I knew, however, as a Bible teacher that artists of every artistic medium had been interacting with biblical stories and texts in a serious way for centuries. Many people have been as influenced by artistic interactions with the Bible as they have by sermons or formal Bible study. I wanted my students as future pastors and church leaders to know something about that, and to draw on the arts as a resource in their ministries. I began to use the arts in my introductory Hebrew Bible classes, and students responded to this, so I thought a course focused entirely on the interaction of the Hebrew Bible and the arts would be a good idea. I designed the course syllabus to provide interaction with artists’ biblical encounters in all the arts: visual
