When I think of oppression in the history of the USA the institution of slavery comes to mind first, and also the Civil Rights fight of the 1960’s. During the 60’s the Beatles took on this subject with their song BLACKBIRD.
Concerning OPPRESSION King Solomon many years ago in the Book of Ecclesiastes said that power reigns in this world UNDER THE SUN and it seems that the unjust flourish and the just have calamity come upon them.
Francis Schaeffer noted that King Solomon in the Book of Ecclesiastes took a look at the meaning of life on the basis of human life standing alone between birth and death “under the sun.” This phrase UNDER THE SUN appears over and over in Ecclesiastes. The Christian Scholar Ravi Zacharias noted, “The key to understanding the Book of Ecclesiastes is the term UNDER THE SUN — What that literally means is you lock God out of a closed system and you are left with only this world of Time plus Chance plus matter.”
(Francis Schaeffer pictured below)
Below are three scriptures with Schaeffer’s comments below them.
Ecclesiastes 4:1
Then I looked again at all the acts of oppression which were being done under the sun. And behold I saw the tears of the oppressed and that they had no one to comfort them; and on the side of their oppressors was power, but they had no one to comfort them.
Between birth and death power rules. Solomon looked over his kingdom and also around the world and proclaimed that right does not rule but power rules.
Ecclesiastes 7:14-15
14 In the day of prosperity be happy, but in the day of adversity consider—God has made the one as well as the other so that man will not discover anything that will be after him. 15 I have seen everything during my lifetime of futility; there is a righteous man who perishes in his righteousness and there is a wicked man who prolongs his life in his wickedness.
Ecclesiastes 8:14
14 There is futility which is done on the earth, that is, there are righteous men to whom it happens according to the deeds of the wicked. On the other hand, there are evil men to whom it happens according to the deeds of the righteous. I say that this too is futility.
We could say it in 20th century language, “The books are not balanced in this life.
In the film series HOW SHOULD WE THEN LIVE? episode 7 Francis Schaeffer asserts:
AMERICAN EXPERIENCE The Abolitionists, Part One, Chapter 1
________
Lyrics-
Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise
Black bird singing in the dead of night
Take these sunken eyes and learn to see
all your life
you were only waiting for this moment to be free
Blackbird fly, Blackbird fly
Into the light of the dark black night.
Blackbird fly, Blackbird fly
Into the light of the dark black night.
Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise,
You were only waiting for this moment to arise,
You were only waiting for this moment to arise
THE SCHAEFFER LEGACY PROJECT – INTERVEW WITH SYLVESTER JACOBS
L’Abri 1974 (England) – Sylvester & Simone Jacobs
THE GOOD SOCIETY AND THE MORAL LAW
I’m Eric Metaxas. Today on BreakPoint we re-present Chuck Colson’s commentary on Martin Luther King Day and Dr. King’s dramatic defense of the moral law.
More than forty years ago, on August 28, 1963, a quarter million people gathered in front of the Lincoln Memorial. They marched here for the cause of civil rights. And that day they heard Martin Luther King Jr. deliver his famous “I Have a Dream” speech, a speech in which he challenged America to fulfill her promise.
“I have a dream,” he said, “that one day this nation will rise up and live out the true meaning of its creed. ‘We hold these truths to be self-evident that all men are created equal.’ ”
While we know of the speech, most people are unaware that King also penned one of the most eloquent defenses of the moral law: the law that formed the basis for his speech, for the civil rights movement, and for all of the law, for that matter.
In the spring of 1963, King was arrested for leading a series of massive non-violent protests against the segregated lunch counters and discriminatory hiring practices rampant in Birmingham, Alabama. While in jail, King received a letter from eight Alabama ministers. They agreed with his goals, but they thought that he should call off the demonstrations and obey the law.
King explained why he disagreed in his famous Letter from a Birmingham Jail. “One might well ask,” he wrote, “how can you advocate breaking some laws and obeying others?” The answer “is found in the fact that there are two kinds of laws: just laws … and unjust laws. One has not only a legal but a moral responsibility to obey just laws,” King said, “but conversely, one has a moral responsibility to disobeyunjust laws.”
How does one determine whether the law is just or unjust? A just law, King wrote, “squares with the moral law of the law of God. An unjust law … is out of harmony with the moral law.”
Then King quoted Saint Augustine: “An unjust law is no law at all.” He quoted Thomas Aquinas: “An unjust law is a human law not rooted in eternal or natural law.”
This is the great issue today in the public square: Is the law rooted in truth? Is it transcendent, immutable, and morally binding? Or is it, as liberal interpreters argue, simply whatever courts say it is? Do we discover the law, or do we create it?
Many think of King as a liberal firebrand, waging war on traditional values. Nothing could be further from the truth. King was a great conservative on this central issue, and he stood on the shoulders of Augustine and Aquinas, striving to restore our heritage of justice rooted in the law of God.
Were he alive today, I believe he’d be in the vanguard of the pro-life movement. I also believe that he would be horrified at the way in which out of control courts have trampled down the moral truths he advocated.
From the time of Emperor Nero, who declared Christianity illegal, to the days of the American slave trade, from the civil rights struggle of the sixties to our current battles against abortion, euthanasia, cloning, and same-sex “marriage,” Christians have always maintained exactly what King maintained.
King’s dream was to live in harmony with the moral law as God established it. So this Martin Luther King Day, reflect on that dream—for it is worthy of our aspirations, our hard work, and the same commitment Dr. King showed.
The original commentary first aired on August 28, 2003.
How Christians Ended Slavery
Dinesh D’Souza | Jan 14, 2008
Isn’t it remarkable that atheists, who did virtually nothing to oppose slavery, condemn Christians, who are the ones who abolished it?
Consider atheist Sam Harris, who blames Christianity for supporting slavery. Harris is right that slavery existed among the Old Testament Jews, and Paul even instructs slaves to obey their masters. During the civil war both sides quoted the Bible. We know all this. (Yawn, yawn.)
But slavery pre-dated Christianity by centuries and even millennia. As we read from sociologist Orlando Patterson’s work, all known cultures had slavery. For centuries, slavery needed no defenders because it had no critics. Atheists who champion ancient Greece and pre-Christian Rome somehow seem to forget that those empires were based on large-scale enslavement.
Atheist Michael Shermer says Christians are “late comers” to the movement against slavery. Shermer advanced this argument in our Cal Tech debate in December. That debate is now online, and you can watch it at michaelshermer.com.
But if what Shermer says is true, who were the early opponents of slavery who got there before the Christians did? Actually, there weren’t any. Shermer probably thinks the Christians only got around to opposing slavery in the modern era.
Wrong. Slavery was mostly eradicated from Western civilization–then called Christendom–between the fourth and the tenth century. The Greco-Roman institution of slavery gave way to serfdom. Now serfdom has its problems but at least the serf is not a “human tool” and cannot be bought and sold like property. So slavery was ended twice in Western civilization, first in the medieval era and then again in the modern era.
In the American South, Christianity proved to be the solace of the oppressed. As historian Eugene Genovese documents in Roll, Jordan, Roll, when black slaves sought to find dignity during the dark night of slavery, they didn’t turn to Marcus Aurelius or David Hume; they turned to the Bible. When they sought hope and inspiration for liberation, they found it not in Voltaire or D’Holbach but in the Book of Exodus.
The anti-slavery movements led by Wilberforce in England and abolitionists in America were dominated by Christians. These believers reasoned that since we are all created equal in the eyes of God, no one has the right to rule another without consent. This is the moral basis not only of anti-slavery but also of democracy.
Jefferson was in some ways the least orthodox and the most skeptical of the founders. Yet when he condemned slavery he found himself using biblical language. In Notes on the State of Virginia Jefferson warned that those who would enslave people should reflect that “the Almighty has no attribute which can take side with us in such a contest.” Jefferson famously added, “And can the liberties of a nation be thought secure when we have removed their only firm basis, a conviction in the minds of the people that these liberties are the gift of God? That they are not to be violated but with His wrath? Indeed I tremble for my country when I reflect that God is just: that His justice cannot sleep for ever.”
But wasn’t Jefferson also a man of science? Yes he was, and it was on the basis of the latest science of his day that Jefferson expressed his convictions about black inferiority. Citing the discoveries of modern science, Jefferson noted that “there are varieties in the race of man, distinguished by their powers both of body and of mind…as I see to be the case with races of other animals.” Blacks, Jefferson continued, lack the powers of reason that are evident in whites and even in native Indians. While atheists today like to portray themselves as paragons of equal dignity, Jefferson’s scientific and skeptical outlook contributed not to his anti-slavery sentiments but to his racism. Somehow Harris and Shermer neglect to point this out.
In the end the fact remains that the only movements that opposed slavery in principle were mobilized in the West, and they were overwhelmingly led and populated by Christians. Sadly the West had to use force to stop slavery in other cultures, such as the Muslim slave trade off the coast of Africa. In some quarters the campaign to eradicate slavery still goes on.
So who killed slavery? The Christians did, while everyone else generally stood by and watched.
AMERICAN EXPERIENCE | The Abolitionists, Part 2, Chapter 1 | PBS
AMERICAN EXPERIENCE | The Abolitionists, Part 3, Chapter 1 | PBS
Francis Schaeffer asserted in HOW SHOULD WE THEN LIVE? Episode 7:
This record, Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.
__
How Should We then Live Episode 7 small
Featured artist this week is Sam Gilliam
Sam Gilliam
Red April, 1970
Acrylic on canvas, 110 x 160 in.
Gift of The Longview Foundation and Museum purchase, 1971.11
The title Red April references the assassination of Dr. Martin Luther King, Jr. (April 4, 1968), and the riots that followed in Washington, D.C., where Sam Gilliam resided.
Gilliam painted Red April by pouring and splattering acrylic pigments (some thinned-out, some thick and intense) onto a raw canvas he placed on the floor. Gilliam folded the canvas like an accordion and let the paint dry for a while. He intended for some of the pigment to remain wet so that when he unfolded the canvas, it would pull off and adhere to the canvas on top of it. Gilliam then stretched the canvas on beveled stretchers, so it would appear to be coming out of the wall.
Sam Gilliam’s experiments of the 1960s and 1970s grew out of the innovations of modern artists like Jackson Pollock. In addition, by breaking with traditional definitions of material and technique, Gilliam contributed a great deal to contemporary art through his revolutionary work with raw and manipulated canvas (both unframed and shaped), in his application of the properties of newly developed artist-quality acrylic paints, and in his magnificent color field painting. Gilliam was one of the first generation of Washington-based painters who explored the relationships between colors on large expanses of canvas, and to this day he remains one of the most highly praised African-American artists in the world.
Art This Week-At The Blanton-Witness: Art and Civil Rights in the Sixties
Sam Gilliam
| Sam Gilliam | |
|---|---|
| Born | November 30, 1933 Tupelo, Mississippi |
| Nationality | American |
| Alma mater | University of Louisville |
| Movement | Washington Color School |
Sam Gilliam (born November 30, 1933) is a Color Field Painter and Lyrical Abstractionist artist. Gilliam, an African American, is associated with the Washington Color School and is broadly considered aColor field painter. His works have also been described as belonging to Abstract Expressionism and Lyrical Abstraction. He works on stretched, draped, and wrapped canvas, and adds sculptural 3D elements. He is recognized as the first artist to introduce the idea of a painted canvas hanging without stretcher bars c.1965, a major contribution to the Color Field School.[1]
Lately, he has worked with polypropylene, computer generated imaging, metallic and iridescent acrylics, handmade paper, aluminum, steel, plywood and plastic.
Contents
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Biography[edit]
Sam Gilliam was born in Tupelo, Mississippi and was the seventh of eight children born to Sam and Estery Gilliam. The Gilliams moved to Louisville, Kentucky shortly after Sam was born. His father worked on the railroad, and his mother cared for the large family. Gilliam began painting in elementary school and received much encouragement from teachers. In 1951, Gilliam graduated from Central High School in Louisville. Gilliam served in the United States Army from 1956 to 1958. He received his bachelor’s and master’s degree of Fine Arts at the University of Louisville. In 1955, Gilliam had his first solo exhibition at the University of Louisville. He initially taught art for a year in the Louisville public schools. In 1962, he married Dorothy Butler, a Louisville native and a well-known journalist. That same year, Gilliam moved to Washington, D.C., where he has lived ever since.
Career in the 1960s, early 1970s[edit]
In the 1960s, as the political and social front of America began to explode in all directions, the black artist began to take bold declarative initiatives, making definitive imagery, inspired by the specific conditions of the African American experience. Abstraction remained a critical issue for artists like Sam Gilliam. Gilliam’s sense of color is modulated by his study of light, color, and its transformative and changing dynamics. He is most widely known for the large color-stained canvases he draped and suspended from the walls and ceilings during the late 1960s and early 1970s. “The background for Gilliam’s art was the 1950s, which witnessed the emergence of abstract expressionism and the New York School followed by Color Field painting.” Gilliam’s early style developed from brooding figural abstractions into large paintings of flatly applied color pushed Gilliam to eventually remove the easel aspect of painting by eliminating the stretcher.
Gilliam was influenced by German Expressionists such as Emil Nolde, Paul Klee and the American Bay Area Figurative School artist Nathan Oliveira. He states that he found lots of clues on how to go about his work from Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and Paul Cézanne. In 1963, Thomas Downing, an artist who identified himself with the Washington Color School, introduced Gilliam to this new school of thought. Around 1965 Gilliam became the first painter to introduce the idea of the unsupported canvas. He was inspired to do this by observing laundry hanging outside his Washington studio. His drape paintings were suspended from ceilings, arranged on walls or floors, and they represent a sculptural, third dimension in painting. Gilliam states that his paintings are based on the fact that the framework of the painting is in real space. He is attracted to its power and the way it functions. Gilliam’s draped canvases change in each environment they are arranged in and frequently he embellishes the works with metal, rocks, and wooden beams.
Career in the 1970s and 1980s[edit]
In 1975, Gilliam veered away from the draped canvases and became influenced by jazz musicians such as Miles Davis and John Coltrane. He started producing dynamic geometric collages, which he called “Black Paintings” due to the hue. Again, in the 1980s Gilliam’s style changed dramatically to quilted paintings reminiscent of African patchwork quilts from his childhood. His most recent works are textured paintings that incorporate metal forms. Gilliam’s ability to move beyond the draped canvas, coupled with his ability to adopt new series keeps the viewers interested and engaged. This has assured his prominence in the art world as an exciting and innovative contemporary painter.
Gilliam is also one of the few successful, self-supporting African American artists who views the teaching of art as a mission. His love of teaching developed during the one year he spent in Louisville public schools. He taught for nearly a decade in the Washington public schools, and then at the Maryland Institute College of Art, and the University of Maryland, and for several years at Carnegie Mellon University in Pittsburgh, Pa. In addition, Gilliam still devotes time to conducting workshops, participating in panels, and delivering lectures in this country and abroad.
Quotes[edit]
These are direct quotes from the artist help describe him and/or his work; “I am a better artist today in that I am obviously a better teacher. Whether I am teaching or making art, the process is fundamentally the same: I am creating.” “Only when making the work can I determine the many languages that form the planes on which it is to exist. Like abstract phrases the many intentions of the work (before an audience) passes through an intuitive sieve… The work was not planned, there are ploys, however, to the way it was laid out and then put together.” 1996 –Sam Gilliam.
Education[edit]
Gilliam received his B.A. in fine art and his M.A. in painting from the University of Louisville in Kentucky. He has taught at the Corcoran School of Art, the Maryland Institute College of Art and Carnegie Mellon University.
Recognition[edit]
He has had many commissions, grants, awards, exhibitions and honorary doctorates. A major retrospective of Gilliam’s work was held at the Corcoran Gallery of Art in 2005. He was named the 2006 University of Louisville Alumnus of the Year.
In 1987 he was selected by the Smithsonian Art Collectors Program to produce a print to celebrate the opening of the S. Dylan Ripley Center in the National Mall. He donated his talent to produce In Celebration, a 35-color limited-edition serigraph that highlighted his trademark use of color, and the sale of which benefitted the Smithsonian Associates, the continuing education branch of the larger Smithsonian Institution.[2] In early 2009, he again donated his talents to the Smithsonian Associates to produce a 90-color serigraph entitled Museum Moment, which he describes as “a celebration of art” [3]
In May 2011, his work From a Model to a Rainbow was installed in the Metro Underpass at 4th and Cedar, NW.
He lives in Washington D.C. and has a studio on 14th Street, NW, just north of Colorado Avenue.
Notes[edit]
- Jump up^ “Colorscope: Abstract Painting 1960-1979”. Santa Barbara Museum of Art. Retrieved September 15, 2014.
- Jump up^ “In Celebration, 1987 by Sam Gilliam”. The Smithsonian Associates. Retrieved 2013-08-09.
- Jump up^ “Museum Moment, 2009 by Sam Gilliam”. The Smithsonian Associates. Retrieved 2013-08-09.
References[edit]
- Sam Gilliam: a retrospective, October 15, 2005 to January 22, 2006, Corcoran Gallery of Art
- Binstock, Jonathan P., and Sam Gilliam. 2005. Sam Gilliam: a retrospective. Berkeley: University of California Press.
- Works by Sam Gilliam National Gallery of Art, Washington, D.C.
- Sam Gilliam papers, 1958-1989, Archives of American Art, Smithsonian Institution
- AskArt lists 52 references to Sam Gilliam
- Washington Art, catalog of exhibitions at State University College at Potsdam, NY & State University of New York at Albany, 1971, Introduction by Renato G. Danese, printed by Regal Art Press, Troy NY.
External links[edit]
- Gilliam’s Newest Work Inspires Dickstein Shapiro, Washingtonian Magazine
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Sam Gilliam
*click to enlarge image (opens in new window)
Sam Gilliam, an alumnus of UofL’s College of Arts and Sciences at both the undergraduate and graduate levels, is a highly acclaimed and world renowned artist. He is widely known for his use of saturated color and his highly improvisational, spontaneous technique. He is regarded as one of the most important and inventive colorists of the last 30 years.
Mr. Gilliam received a B.A. in creative art in 1955 and an M.A. in fine arts in 1961. He has taught at a number of universities, including the Maryland Institute of Art and Carnegie Mellon University. He retired from teaching in 1989 and operates a studio in a historic district in Washington, D.C.
Mr. Gilliam became well-known in the late 1960s with his own unique approach to “painting as object” so that color is structured by the form of the canvas itself. The sculptural effects he achieved with this technique gave him national repute, and his work has found audiences worldwide. His current work includes multimedia installations that employ brightly stained polypropylene, computer generated imaging, metallic and iridescent acrylics, hand-made paper, aluminum, steel, and plastic.
Mr. Gilliam has had 20 solo exhibits and has created 32 public art pieces, some of which can be found in Detroit, New York, Atlanta, San Francisco, and Boston. His work is in the permanent collections of 56 museums including the Metropolitan Museum of Art, the Museum of Modern Art (New York), the Whitney Museum of American Art, the National Gallery of Art, the National Museum of American Art, the Art Institute of Chicago, the Corcoran Gallery, the Hirshhorn Museum, and Louisville’s own Speed Art Museum. He has served on the board of the Speed Art Museum and he frequently returns to Louisville to participate in arts events.
Mr. Gilliam’s professional honors include honorary doctorates from eight universities, the Kentucky Governor’s Award in the Arts, several National Endowment for the Arts grants, the Longview Foundation Award, a Guggenheim Fellowship, the Art Institute of Chicago’s Norman W. Harris Prize, and an Artist’s Fellowship from the Washington Gallery of Modern Art. In 2006, Mr. Gilliam was named the University of Louisville’s Alumnus of the Year.
Mr. Gilliam’s sisters, Lillie Gilliam and Lizzie Miller, accepted Sam Gilliam’s College of Arts and Sciences Hall of Honor medallion from Dean J. Blaine Hudson. Mr. Gilliam was unable to attend the November 9, 2007 induction ceremony.
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