FRANCIS SCHAEFFER ANALYZES ART AND CULTURE “Two speeches from the Apostle Paul that apply to our society today!” Part 240 (Feature on artist Marc Quinn)


Paul, Apostle of Christ: Official Trailer | Now Playing

Published on Jan 30, 2018

Paul, Apostle of Christ: Official Trailer In Theaters March 23 Facebook: Twitter: Instagram: For Group Sales Visit: Paul, Apostle of Christ is the story of two men. Luke, as a friend and physician, risks his life every time he ventures into the city of Rome to visit Paul, who is held captive in Nero’s darkest, bleakest prison cell. Before Paul’s death sentence can be enacted, Luke resolves to write another book, one that details the beginnings of “The Way” and the birth of what will come to be known as the church. But Nero is determined to rid Rome of Christians, and does not flinch from executing them in the grisliest ways possible. Bound in chains, Paul’s struggle is internal. He has survived so much—floggings, shipwreck, starvation, stoning, hunger and thirst, cold and exposure—yet as he waits for his appointment with death, he is haunted by the shadows of his past misdeeds. Alone in the dark, he wonders if he has been forgotten . . . and if he has the strength to finish well. Two men struggle against a determined emperor and the frailties of the human spirit in order to bequeath the Gospel of Jesus Christ to the world.
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In the 3rd video below the words of Paul are quoted from First Corinthians Chapter 15:1-24

1 Corinthians 15:1-24New American Standard Bible (NASB)

The Fact of Christ’s Resurrection

15 Now I make known to you, brethren, the gospel which I preached to you, which also you received, in which also you stand, by which also you are saved, if you hold fast [a]the word which I preached to you, unless you believed in vain.

For I delivered to you [b]as of first importance what I also received, that Christ died for our sins according to the Scriptures, and that He was buried, and that He was raised on the third day according to the Scriptures, and that He appeared to Cephas, then to the twelve. After that He appeared to more than five hundred brethren at one time, most of whom remain until now, but somehave fallen asleep; then He appeared to [c]James, then to all the apostles;and last of all, as [d]to one untimely born, He appeared to me also. For I amthe least of the apostles, [e]and not fit to be called an apostle, because Ipersecuted the church of God. 10 But by the grace of God I am what I am, and His grace toward me did not prove vain; but I labored even more than all of them, yet not I, but the grace of God with me. 11 Whether then it was I or they, so we preach and so you believed.

12 Now if Christ is preached, that He has been raised from the dead, how do some among you say that there is no resurrection of the dead? 13 But if there is no resurrection of the dead, not even Christ has been raised; 14 and if Christ has not been raised, then our preaching is vain, your faith also is vain.15 Moreover we are even found to be false witnesses of God, because we testified [f]against God that He raised [g]Christ, whom He did not raise, if in fact the dead are not raised. 16 For if the dead are not raised, not even Christ has been raised; 17 and if Christ has not been raised, your faith is worthless; you are still in your sins. 18 Then those also who have fallen asleep in Christ have perished. 19 If we have hoped in Christ in this life only, we are of all men most to be pitied.

The Order of Resurrection

20 But now Christ has been raised from the dead, the first fruits of those whoare asleep. 21 For since by a man came death, by a man also came the resurrection of the dead. 22 For as in Adam all die, so also in [h]Christ all will be made alive. 23 But each in his own order: Christ the first fruits, after that those who are Christ’s at His coming, 24 then comes the end, when He hands over the kingdom to the God and Father, when He has abolished all rule and all authority and power.

Dr. Francis Schaeffer – The Biblical flow of Truth & History (intro)

Francis Schaeffer – The Biblical Flow of History & Truth (1)

Dr. Francis Schaeffer – The Biblical Flow of Truth & History (part 2)

Uploaded on Oct 3, 2010

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Francis Schaeffer in his book HOW SHOULD WE THEN LIVE? noted:

The biblical message is truth and it demands a commitment to truth. It means that everything is not the result of the impersonal plus time plus chance, but that there is an infinite-personal God who is the Creator of the universe, the space-time continuum. We should not forget that this was what the founders of modern science built upon. It means the acceptance of Christ as Savior and Lord, and it means living under God’s revelation. Here there are morals, values, and meaning, including meaning for people, which are not just a result of statistical averages. This is neither a utilitarianism, nor a leap away from reason; it is the truth that gives a unity to all of knowledge and all of life. This second alternative means that individuals come to the place where they have this base, and they influence the consensus. Such Christians do not need to be a majority in order for this influence on society to occur.”

Dr. Francis Schaeffer – Episode 10 – Final Choices


At the 22:56 mark in the above video Francis Schaeffer said:

In about A.D. 60, a Jew who was a Christian and who also knew the Greek and Roman thinking of his day wrote a letter to those who lived in Rome. Previously, he had said the same things to Greek thinkers while speaking on Mars Hill in Athens. He had spoken with the Acropolis above him and the ancient marketplace below him, in the place wherethe thinkers of Athens met for discussion. A plaque marks that spot today and gives his talk in the common Greek spoken in his day. He was interrupted in his talk in Athens, but his Letter to the Romans gives us without interruption what he had to say to the thinking people of that period.

He said that the integration points of the Greek and Roman world view were not enough to answer the questions posed either by the existence of the universe and its form, or by the uniqueness of man. He said that they deserved judgment because they knew that they did not have an adequate answer to the questions raised by the universe or by the existence of man, and yet they refused, they suppressed, that which is the answer. To quote his letter:

The retribution of God is revealed from heaven against all ungodliness and unrighteousness of men, who suppress the truth in unrighteousness. Because that which is known of God is evident within them [that is, the uniqueness of man in contrast to non-man], for God made it evident to them. For the invisible things of him since the creation of the world are clearly seen, being perceived by the things that are made [that is, the existence of the universe and its form], even his eternal power and divinity; so that they are without excuse. [Roman 1:18ff.]

Here he is saying that the universe and its form and the mannishness of man speak the same truth that the Bible gives in greater detail. That this God exists and that he has not been silent but has spoken to people in the Bible and through Christ was the basis for the return to a more fully biblical Christianity in the days of the Reformers. It was a message of the possibility that people could return to God on the basis of the death of Christ alone. But with it came many other realities, including form and freedom in the culture and society built on that more biblical Christianity. The freedom brought forth was titanic, and yet, with the forms given in the Scripture, the freedoms did not lead to chaos. And it is this which can give us hope for the future. It is either this or an imposed order.

As I have said in the first chapter, people function on the basis of their world view more consistently than even they themselves may realize. The problem is not outward things. The problem is having, and then acting upon, the right world view — the world view which gives men and women the truth of what is.


The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)

You want some evidence that indicates that the Bible is true? Here is a good place to start and that is taking a closer look at the archaeology of the Old Testament times. Is the Bible historically accurate? Here are some of the posts I have done in the past on the subject: 1. The Babylonian Chronicleof Nebuchadnezzars Siege of Jerusalem2. Hezekiah’s Siloam Tunnel Inscription. 3. Taylor Prism (Sennacherib Hexagonal Prism)4. Biblical Cities Attested Archaeologically. 5. The Discovery of the Hittites6.Shishak Smiting His Captives7. Moabite Stone8Black Obelisk of Shalmaneser III9A Verification of places in Gospel of John and Book of Acts., 9B Discovery of Ebla Tablets10. Cyrus Cylinder11. Puru “The lot of Yahali” 9th Century B.C.E.12. The Uzziah Tablet Inscription13. The Pilate Inscription14. Caiaphas Ossuary14 B Pontius Pilate Part 214c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.


Artist Marc Quinn, whose frozen head of blood is part of the National Gallery of Australia’s HyperReal exhibition, has shared video footage about how the head is made.

“It’s like artwork on life support,” he says, as technicians pour 5.6 litres of blood inside the silicon mould of Quinn’s own head.

Play Video
Marc Quinn's frozen head of blood

Play Video


Marc Quinn’s frozen head of blood

Playing in 4 …Don’t Play

The National Gallery of Australia presents Marc Quinn’s self portrait as part of the ‘Hyper Real’ exhibition.

Once frozen, the mould is removed and the sculpture is carefully placed inside “a sophisticated deep freeze”.

“If you unplugged it the head would turn into a pool of blood.”

British artist Marc Quinn is one of 32 artists featured in HyperReal.
British artist Marc Quinn is one of 32 artists featured in HyperReal.Photo: Jamila Toderas

Titled Self the work appears in the National Gallery’s exhibition that charts the evolution of hyperrealism from its inception in the early 1970s. The jawdropping display includes artworks that speak to hyperrealism’s focus on ultra-realistic representations of the human form, while simultaneously challenging the perceived boundaries of the genre through video and digital art, virtual reality, and – significantly – Quinn’s extraordinary brand of bio-art.

Since 1991, Quinn has made these self portraits, there are five of them, working with plaster and fibreglass and finally the silicone to get the hollow sculpture which he fills with his blood, extracted over the course of a year, a pint every six weeks. They are frozen and encased in a purpose built glass case, it’s own little refrigeration unit like some bizarre cryogenic experiment.

Quinn said the idea for the Self series came about through a frustration with the idea that, at the time, art was about art, trapped in a “formalist eddy”.

“I was interested in making art that was about real life … and I thought I would start with myself,” he said.

Marc Quinn Self 2011
Marc Quinn Self 2011Photo: Prudence Cuming Associates

“You explore the world from yourself outwards, that’s the arc of all my work.”

At Cambridge University he studied Rembrandt’s self portraits during his art history course and “thought it would be quite interesting to make a contemporary version of that”.

“I was thinking how can I make something that is more real than something made of metal or steel and I was thinking of freezing stuff and it just kind of came to me one morning.”

Jaklyn Babington, NGA senior curator of contemporary art, said Quinn’s Self exists simultaneously within the past, present and future.

“Quinn’s material of choice is blood, and by sculpting with biological matter, he contributes to our understanding of hyperrealism in a unique way.

“The sculpture sits in a limbo – simultaneously alive and dead, real and simulated. It is one of the most uncanny works of recent contemporary practice.”

Marc QuinnMarc Quinn

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Marc Quinn
Born Marc Quinn
8 January 1964 (age 54)
Nationality British
Education Robinson College, Cambridge
Known for Contemporary Art, Young British Artists
Awards 2004 – 4th Plinth Commission for Trafalgar Square, London

Marc Quinn (born 8 January 1964) is a British contemporary visual artist whose work includes sculpture, installation and painting. Quinn explores ‘what it is to be human in the world today’ through subjects including the body, genetics, identity, environment and the media. His work has used materials that vary widely, from blood, bread and flowers, to marble and stainless steel. Quinn has been the subject of solo exhibitions at Sir John Soane’s MuseumTateNational Portrait GalleryFondation BeyelerFondazione Prada and South London Gallery.[1] The artist was a notable member of the Young British Artists movement, which included Sarah Lucas and Damien Hirst.

Quinn is internationally celebrated and was awarded the commission for the first edition of the Fourth Plinth in Trafalgar Square in 2004, for which he exhibited Alison Lapper Pregnant.[2] Quinn’s notorious frozen self-portrait series made of his own blood, Self (1991-present) was subject to a retrospective at Fondation Beyelerin 2009. [3]

Quinn lives and works in London.

Life and career[edit]

‘Planet’ by Marc Quinn in Singapore

Quinn was born in London in 1964 to a French mother and a British father.[4] He studied history and history of art at Robinson CollegeCambridge. He spent his early years in Paris, where his father was a physicist working at the BIPM (Bureau International des Poids et Mesures). Quinn recalls an early fascination with the scientific instruments in his father’s laboratory, in particular atomic clocks.[5] He studied history and history of art at Robinson College, Cambridge.[6]

In the early 1990s, Quinn was the first artist to be represented by gallerist Jay Jopling. The artist had his first exhibition with Jopling in 1991, exhibiting Self (1991), a frozen self-portrait made out of nine pints of the artist’s blood.[7] In 1993 Jay Jopling founded White Cube at 44 Duke Street London. As well as Quinn, White Cube exhibited Lucian FreudGilbert & GeorgeAntony GormleyMona HatoumDamien HirstGary HumeRuna IslamJake & Dinos ChapmanTracey EminHarland MillerSam Taylor-WoodGavin Turk and Cerith Wyn Evans.[8]

During the 1990s, Quinn and several peers were identified for their radical approach to the making and experiencing of art. In 1992, the loosely affiliated group was called the ‘Young British Artists‘ by writer Michael Corris in Artforum, and included Cornelia ParkerSarah LucasDamien HirstRachel Whitereadand Tracey Emin.[9]

In 1995, Quinn was given a solo exhibition at Tate Britain where new sculptures were shown as part of the Art Now series.[10] In 1997 Quinn’s work Self(1991), was exhibited at the Royal Academy, London for the exhibition Sensation. Quinn’s Self, along with works by Sarah Lucas and Damien Hirst, were already distinguished amongst the British public. The exhibition received widespread media attention and had a record number of visitors for a contemporary art exhibition.[11] The exhibition then travelled to the Hamburger Bahnhof, Berlin, and to the Brooklyn Museum, New York.[12]

Quinn has exhibited exhibitions including Sonsbeek ’93, Arnhem (1993), Give and Take, Victoria and Albert Museum, London (2001), Statements 7, 50th Venice Biennale (2003) and Gwangju Biennale (2004).

Solo exhibitions include Tate Gallery, London (1995),[13] Kunstverein Hannover (1999), Fondazione Prada, Milan (2000),[14] Tate Liverpool (2002), Irish Museum of Modern Art, Dublin (2004), Groninger Museum, Groningen (2006) and MACRO, Rome (2006), DHC/ART Fondation pour l’art contemporain, Montréal (2007) and Fondation Beyeler, Basel (2009).

Art practice[edit]

Quinn’s sculpture, paintings and drawings often deal with the distanced relationship we have with our bodies, highlighting how the conflict between the “natural” and “cultural” has a grip on the contemporary psyche. In 1999, Quinn began a series of marble sculptures of amputees as a way of re-reading the aspirations of Greek and Roman statuary and their depictions of an idealised whole.


“Self” (ongoing project)[edit]

“Self” is a frozen sculpture of the artist’s head made from 5 litres of his own blood, taken from his body over a period of five months, the first of which was made in 1991. Described by Quinn as a “frozen moment on lifesupport”, the work is carefully maintained in a refrigeration unit, reminding the viewer of the fragility of existence. Quinn makes a new version of Self every five years, each of which documents Quinn’s own aging and physical deterioration.

It was purchased by Charles Saatchi in 1991 for £13,000, who displayed it in the “Sensation” exhibit at the Royal Academy of Arts in 1997. There were rumors that the piece had melted, but Saatchi dispelled those rumors when he exhibited it at his new gallery in London in 2003.[15]

In April 2005 he sold it to Steven A. Cohen, the American hedge-fund manager of Point72 Asset Management (formerly S.A.C.), for $2.8 million.[16] Cohen displayed it at his hedge fund’s headquarters in StamfordConnecticut.[17] The National Portrait Gallery in London acquired Self 2006, purchased through The Art Fund, the Henry Moore Foundation, Terry and Jean de Gunzburg.

Garden (2000)[edit]

‘Eternal Spring – Sunflowers II’, sunflowers kept chilled in liquid silicone oil

His next important piece in terms of his public profile was the frozen garden he made for Miuccia Prada in 2000, installed at Fondazione Prada in MilanItaly. A whole garden full of plants which could never grow together kept in cryogenic suspension. In interview, Quinn explained how this worked, “When working with the frozen material, it’s like doing an experiment—different things come out of it. When you freeze something, it normally dries up. To avoid that, you have to stop the air from getting to the object. You can do this by casing it in silicone“.

Portrait of John E. Sulston (2001)[edit]

His portrait of John E. Sulston, who won the Nobel prize in 2002 for sequencing the human genome on the Human Genome Project,[18] is in the National Portrait Gallery. It consists of bacteria containing Sulston’s DNA in agar jelly. “The portrait was made by our standard methods for DNA cloning”, writes Sulston. “My DNA was broken randomly into segments, and treated so that they could be replicated in bacteria. The bacteria containing the DNA segments were spread out on agar jelly in the plate you see in the portrait.”[19]

Alison Lapper, The Fourth Plinth (2005–2007)[edit]

“Alison Lapper” Trafalgar Square, 2005-2007

Quinn has made a series of marble sculptures of people either born with limbs missing or who have had them amputated. This culminated in his 15-ton marble statue of Alison Lapper, a fellow artist born with no arms and severely shortened legs, which was displayed on the fourth plinth in Trafalgar Square, London from September 2005 until October 2007.[20](The Fourth Plinth is used for rotating displays of sculpture.) In Disability Studies Quarterly, Ann Millett writes, “The work has been highly criticized for capitalizing on the shock value of disability, as well as lauded for its progressive social values. Alison Lapper Pregnant and the controversy surrounding it showcase disability issues at the forefront of current debates in contemporary art”.[21]

A large reproduction of the sculpture was used as a central element of the 2012 Summer Paralympics opening ceremony.[22][23]

Siren (2008)[edit]

‘Myth (Sphinx)’, Chatsworth House

Since 2006, Marc Quinn has made numerous studies of the supermodel Kate Moss. In April 2006, Sphinx, a sculpture of Kate Moss by Quinn was revealed.[24] The sculpture shows Moss in a yoga position with her ankles and arms wrapped behind her ears. This body of work culminated in an exhibition at the Mary Boone Gallery in New York in May 2007. The sculpture is on permanent display in Folketeatret in OsloNorway.[25][26]

In August 2008, Quinn unveiled another sculpture of Kate Moss in solid 18-carat gold called Siren, which was exhibited at the British Museum in London. The life-size sculpture was promoted as “the largest gold statue since ancient Egypt“.

The Toxic Sublime (2015)[edit]

In 2015 Marc Quinn opened an exhibition of new work at White Cube Bermondsey, entitled The Toxic Sublime. It featured new bodies of work that explore the ecological impact of man on nature. ‘The Toxic Sublimes’ are distorted, three dimensional seascapes. Alongside these paintings, a new series of sculptures, cast in stainless steel, including one measuring over 7.5 meters long, form part of a body of work titled ‘Frozen Waves’. The sculptures originate from the core of shells, eroded by the endless action of waves.

Recent work[edit]

An orchid sculpture by Marc Quinn on the Seilersee in Iserlohn

In May 2010, Quinn revealed a series of new sculptures at London’s White Cube gallery including The Ecstatic Autogenesis of Pamela based on film actress Pamela Anderson and Chelsea Charms based on pornography model Chelsea Charms.[27]

Quinn’s new models include “Catman” (Dennis Avner (who has been tattooed to look like a cat) and transsexualpeople such as Thomas BeatieBuck Angel, and Allanah Starr. Quinn’s portrait sculpture “Buck & Allanah” depicts the two nude, standing hand in hand, in a pose reminiscent of Adam and Eve. The sculpture of Thomas Beatie depicts him at full-term pregnancy, bowing his head and cradling his abdomen with two hands.

The exhibition also included a new series of flower paintings executed in reversed colour and two large-scale orchidsculptures in white painted bronze, installed in Hoxton Square, opposite the gallery.

In July 2015 Quinn opened a show titled The Toxic Sublime in the White Cube in Bermondsey, London.[28]


Quinn is represented in several museums across the world, including Tate Modern, in LondonNational Portrait Gallery, in LondonMusée National d’Art Moderne, in ParisStedelijk Museum, in AmsterdamAstrup Fearnley Museum of Modern Art, in OsloBerardo Collection Museum, in LisbonMusée d’art contemporain de MontréalMuseum of Modern Art, in New York, and Metropolitan Museum of Art, in New York.[29][30]


  1. Jump up^ “Solo Exhibitions”Marc Quinn studio official website.
  2. Jump up^ “Two sculptures take fourth plinth”BBC.
  3. Jump up^ “08. JUN 2009 – 19. JUL 2009, MARC QUINN, «SELFS» 1991–2006”Fondation Beyeler.
  4. Jump up^ Saphora, Smith (13 August 2015). “Marc Quinn: Evolving as an Artist and Social Chronicler”The New York Times.
  5. Jump up^ Elizabeth, Fullerton (5 December 2014). “Young British Artist Hits Middle Age: Catching up with Marc Quinn”ARTNews.
  6. Jump up^ “Marc Quinn (1964-)”British Council.
  7. Jump up^ “Marc Quinn, born 1964”Tate.
  8. Jump up^ “Exhibitions”White Cube.
  9. Jump up^ “Young British Artists (YBAS)”Tate.
  10. Jump up^ “Marc Quinn, born 1964”Tate.
  11. Jump up^ Vanessa, Thorpe (14 December 2008). “Record crowds for China art show”The Guardian.
  12. Jump up^ “Sensation”Damien Hirst official website.
  13. Jump up^ Tate. “Art Now: Marc Quinn: Emotional Detox – Exhibition at Tate Britain | Tate”Tate. Retrieved 4 July 2017.
  14. Jump up^ “prada Foundation Marc Quinn Project”. 2000. Retrieved 5 July 2017.
  15. Jump up^ “Blood Sculpture ‘Melted'”. BBC News. Retrieved 25 June 2012.
  16. Jump up^ Colin, Gleadell (10 May 2005). “Saatchi Sells Another Key Work in His Collection”ArtNews.
  17. Jump up^ Patrick, Radden Keefe (13 October 2014). “The Empire of Edge”The New Yorker.
  18. Jump up^ Wellcome Trust Sanger Institute website (7 October 2002). Retrieved 2 January 2010.
  19. Jump up^ Jones, Jonathan. (22 September 2001). John Sulston, Marc Quinn (2001)The Guardian. Retrieved 2 January 2010.
  20. Jump up^ BBC report on Alison Lapper Pregnant
  21. Jump up^ Millett, Ann. (2008).“Sculpting Body Ideals: Alison Lapper Pregnant and the Public Display of Disability”Disability Studies Quarterly, 28(3). Retrieved 2 January 2010.
  22. Jump up^ Gordon Rayner (29 August 2012). “Paralympics 2012: a stirring journey to enlightenment”Daily Telegraph. Retrieved 1 September 2012.
  23. Jump up^ “Marc Quinn Alison Lapper Sculpture Thrills Paralympic Spectators”. ArtLyst. 30 August 2012. Retrieved 1 September 2012.
  24. Jump up^ BBC News. (13 April 2006). ‘Model Moss cast in bronze statue’. Retrieved 16 January 2010.
  25. Jump up^ “Theartnewspaper”
  26. Jump up^“%20/20923[permanent dead link]
  27. Jump up^ Marc Quinn: Just Don’t Call It a Freak Show“. The Guardian, 10 May 2010.
  28. Jump up^ Marc Quinn review – He sells sea shells, Article by Jonathan Jones, The Guardian, 13 July 2015
  29. Jump up^ Marc Quinn at Artcyclopedia
  30. Jump up^ Marc Quinn at

External links[edit]




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