FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 236 Francis Schaeffer Joan Baez sang “You may call him Jesus, but I call him Savior.” Joan was not calling him Savior in the way a Christian calls him Savior. (Feature on artist Pierre Huyghe)

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The Story of Francis and Edith Schaeffer and Swiss L’Abri

Francis Schaeffer: Art and the Bible

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How Should We Then Live – Episode 8 – The Age of Fragmentation

Book Summary of Art in the Bible by Francis Schaeffer

 

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How Should We Then Live – Episode Seven – 07 – Portuguese Subtitles

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Francis Schaeffer – How Should We Then Live – 03.The Renaissance

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HowShouldweThenLive Episode 6

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Art and the Bible
by Francis Schaeffer

 

Art forms can be used for any type of message, from pure fantasy to detailed history. That a work of art is in the form of fantasy or epic or painting does not mean that there is no propositional content. just as one can have propositional statements in prose, there can be propositional statements in poetry, in painting, in virtually any art form.

Some years ago a theologian at Princeton commented that he did not mind saying the Creeds, providing that he could sing them. What he meant was that so long as he could make them a work of art, he didn’t feel that he had to worry about the content. But this is both poor theology and poor aesthetics….There is the same dilemma in art styles and forms. Think, for example, of T. S. Eliot’s form of poetry in The Waste Land.The fragmented form matches the vision of fragmented man. But it is intriguing that after T. S. Eliot became a Christian — for example, in The Journey of the Magi — he did not use quite this same form. Rather, he adapted it for the message he was now giving — a message with a Christian character. But he didn’t entirely give up the form; he didn’t go back to Tennyson. Rather, he adapted the form that he used in The Waste Land, changing it to fit the message that he was now giving. In other words, T. S. Eliot the Christian wrote somewhat differently than T. S. Eliot the “modern man.” Therefore, while we must use twentieth-century styles, we must not use them in such a way as to be dominated by the world-views out of which they have arisen. Christianity is a message with its own distinctive propositional content, not a set of “religious” truths in an upper story. The whole man is to be addressed, and this includes his mind as well as his emotions and his aesthetic sensitivity. Therefore, an art form or style that is no longer able to carry content cannot be used to give the Christian message. I am not saying that the style is in itself wrong, but that it has limitations. Totally fractured prose or poetry cannot be used to give the Christian message for the simple reason that it cannot carry intellectual content, and you canot preach Christianity without content. The biblical message, the good news, is a good news of content….

The problem is just as prevalent in folk music as it is in rock. Joan Baez sang so beautifully, “You may call him Jesus, but I call him Savior.” But as far as Joan Baez and most of her listeners were concerned, when she said, “I call him Savior,” she was not calling him Savior in the way a Christian calls him Savior. She could have been singing southern folk or country and western or a Hindu lyric just as well. So when we come along and say, “My purpose is to sing folk so that I will be understood,” we must find a way to make it clear that we are singing folk to convey a world-view and not just to sing folk.

Joan Baez – Virgin Mary (Had One Son)

The form in which a world-view is given can either weaken or strengthen the content, even if the viewer or reader does not in every case analyze this completely. In other words, depending upon the vehicle you use, something can come across that an audience does not notice and yet will be moving either in the direction of your world-view or away from your world-view. And as a Christian adopts and adapts various contemporary techniques, he must wrestle with the whole question, looking to the Holy Spirit for help to know when to invent, when to adopt, when to adapt, and when to not use a specific style at all. This is something each artist wrestles with for a lifetime, not something he settles once and for all. In conclusion, therefore, often we will use twentieth-century art forms, but we must be careful to keep them from distorting the world-view which is distinctively ours as Christians. In one way, styles are completely neutral. But in another way, they must not be used in an unthinking, naive way.

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Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” episode 9 “The Age of Personal Peace and Affluence”episode 8 “The Age of Fragmentation”episode 7 “The Age of Non-Reason” episode 6 “The Scientific Age” episode 5 “The Revolutionary Age” ,  episode 4 “The Reformation” episode 3 “The Renaissance”episode 2 “The Middle Ages,”, and  episode 1 “The Roman Age,” . My favorite episodes are number 7 and 8 since they deal with modern art and culture primarily.(Joe Carter rightly noted, “Schaeffer—who always claimed to be an evangelist and not a philosopher—was often criticized for the way his work oversimplified intellectual history and philosophy.” To those critics I say take a chill pill because Schaeffer was introducing millions into the fields of art and culture!!!! !!! More people need to read his works and blog about them because they show how people’s worldviews affect their lives!!!!)

There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE  HUMAN RACE? There is a basis then for faith in Christ alone for our eternal hope. This link shows how to do that.

 

Francis Schaeffer: How Should We Then Live? (Full-Length Documentary)

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Francis Schaeffer with his son Franky pictured below. Francis and Edith (who passed away in 2013) opened L’ Abri in 1955 in Switzerland.

Pierre Huyghe | Art21 | Preview from Season 4 of “Art in the Twenty-First Century” (2007)

Featured artist is Pierre Huyghe

 

Pierre Huyghe was born in 1962 in Paris, France. He attended the École Nationale Supérieure des Arts Décoratifs, Paris (1982–85). Employing folly, leisure, adventure, and celebration in creating art, Huyghe’s films, installations, and public events range from a small-town parade to a puppet theater, from a model amusement park to an expedition to Antarctica.

By filming staged scenarios (such as a re-creation of the true-life bank robbery featured in the movie, Dog Day Afternoon), Huyghe probes the capacity of cinema to distort and ultimately shape memory. While blurring the traditional distinction between fiction and reality—and revealing the experience of fiction to be as palpable as anything in daily life—Huyghe’s playful work often addresses complex social topics, such as the yearning for utopia, the lure of spectacle in mass media, and the impact of Modernism on contemporary values and belief systems.

He has received many awards, including the Solomon R. Guggenheim Museum’s Hugo Boss Prize (2002); the Special Award from the Jury of the Venice Biennial (2001); and a Deutscher Akademischer Austausch Dienst (DAAD) Fellowship (1999–2000). Huyghe has had solo exhibitions at Tate Modern, London, and ARC, Musée d’art Moderne de la Ville de Paris (2006); Carpenter Center, Harvard University, Cambridge, Massachusetts (2004); Modern Art Museum of Fort Worth (2004); Dia Center for the Arts, New York (2003); Solomon R. Guggenheim Museum, New York (2003); Museum of Contemporary Art, Chicago (2000); and Centre Georges Pompidou, Paris (2000). The Public Art Fund commissioned Huyghe to create “A Journey that Wasn’t” (2006), which included an expedition to Antarctica, a performance in Central Park, and a video installation at the Whitney Biennial in New York. Huyghe lives and works in Paris and New York.

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By Everette Hatcher III | Posted in Francis Schaeffer | Edit | Comments (0)

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