性奴调教

Learn more about and the . The is made up of the following member schools:

• American Baptist Seminary of the West (American Baptist Churches, USA)
• Church Divinity School of the Pacific (Episcopal Church)
• Dominican School of Philosophy & Theology (Roman Catholic Church)
• Jesuit School of Theology of Santa Clara University (Roman Catholic Church)
• Pacific Lutheran Theological Seminary (Evangelical Lutheran Church in America)
• Pacific School of Religion (Multidenominational)
• San Francisco Theological Seminary (Presbyterian Church, USA)
• Starr King School for the Ministry (Unitarian Universalist Association)

Learn more about the , and about the .

Maurice B. McNamee, S.J. (1909鈥�2007), known familiarly as Father Mac, was a Jesuit priest and a cherished figure in the 性奴调教 community. He is best known for his successful efforts to save from demolition, and then lovingly restore, Samuel Cupples House, a Richardsonian Romanesque jewel located on the 性奴调教 campus. But he was also a beloved professor and mentor.

Father Mac joined the 性奴调教 English faculty in 1944 (he was a student of and a colleague of Walter Ong, S.J.). He also became a recognized scholar of Flemish art, producing in 1998 the noted book . Additionally, he became the first person to introduce an art course at a Jesuit institution, and helped found 性奴调教's art history program.

(1950鈥�2020) organized 鈥�Precious: An American Cottage Industry of the Eighties鈥� in 1985 for New York University鈥檚 . through WorldCat. Read brief discussions of the exhibition in and the .

Sokolowski lectured at MOCRA in 1994 about art and AIDS, and in 2002 about Andy Warhol. He is featured in MOCRA Voices, Episode 3.

Fr. Dempsey lists a number of authors who influenced his thinking on the religious and spiritual dimensions in art.

(b. 1939) is an American Roman Catholic theologian who has spent the majority of his career teaching at the Divinity School of the University of Chicago. Dempsey drew upon Tracy鈥檚 1981 book 鈥淭he Analogical Imagination: Christian Theology and the Culture of Pluralism鈥� in developing his dissertation.

Fr. Dempsey studied with (b. 1936) at the Jesuit School of Theology. Now Professor Emerita, Schneiders specializes in New Testament literature, particularly Johannine literature and biblical hermeneutics, and Christian spirituality, specifically biblical spirituality, feminism, religious life and the theory of the field of spirituality.

(1886鈥�1965) is widely regarded as one of the most influential Protestant theologians and existential philosophers of the 20th century. Among his key contributions were his method of correlation and his understanding of God as 鈥淕round of Being,鈥� as well as Tillich frequently and extensively engaged with the arts in his writings, and in many ways his work forms the theoretical basis of Christian theology's engagement with modern and contemporary art. Dempsey drew on Tillich works such as 鈥淭he Courage to Be鈥� (1952) for his dissertation. Information about Tillich and his writings is widely available online, such as this list of Tillich resources. Jane Daggett Dillenberger and John Dillenberger co-edited a collection of writings by Tillich titled 鈥淥n Art and Architecture.鈥� . Tillich is discussed in MOCRA Voices, Episode 6: Ralph Peterson and Jane Dillenberger.

Russell Re Manning gives a brief introduction to Tillich鈥檚 thought:

(1927鈥�2001) was a Scottish writer and university educator and a pioneer in the academic field of religious studies. He developed ideas on the proper method for conducting the public study of religion, and conducted cross-cultural research on many of the world鈥檚 religions.

(1921鈥�2009) was a champion of the tradition of American philosophy, and notably the philosophy of religion.. He taught at Yale for nearly forty years and was Clark professor of philosophy emeritus. His many publications include 鈥淩eason and God, The Spirit of American Philosophy,鈥� 鈥淓xperience and God,鈥� 鈥淭he Analogy of Experience: An Approach to Understanding Religious Truth,鈥� and 鈥淨uasi-Religions: Hinduism, Marxism, Nationalism.鈥�

Psychologist , psychotherapist , and author co-edited the the 1987 volume 鈥淪piritual Choices: The Problem of Recognizing Authentic Paths to Inner Transformation,鈥� which collects essays from a seminar that brought together the disciplines of religious studies and transpersonal psychology to look at spirituality and new religious movements.

In a November 2014 lecture at MOCRA, art historian and theologian John Handley gave a talk based on the book, 鈥淭he Religious Art of Pablo Picasso鈥�, which Handley co-authored with Jane Daggett Dillenberger.

Jane Daggett Dillenberger published 鈥淭he Religious Art of Andy Warhol鈥� in 1998. . Informed by Dillenberger鈥檚 insights into the well-known Pop artist鈥檚 work, MOCRA presented Warhol鈥檚 鈥淪ilver Clouds鈥� in 2001, 2002, and 2006. Watch a Living St. Louis segment about the Silver Clouds at MOCRA:

See above at 6:10 for a discussion of Paul Tillich.

taught both Architecture and Landscape Architecture at Berkeley's College of Environmental, and practiced in San Francisco where he and his partner Francis Oda won a number of national and international awards for religious architecture. In ensuing decades he has continued to teach and practice.

The is the visual arts center of the University of California, Berkeley. One of the largest university art museums in the United States, BAM was founded in 1963, thought its distinctive Modernist building did not open until 1970..

Peter Selz mentions a number of artists and art movements. (1923鈥�1994), (1905鈥�1970) and (1903鈥�1970) were all major painters.

art is a movement within Abstract Expressionism in the late 1940 that sought a style of abstraction that might provide a modern, mythic art and express a yearning for transcendence and the infinite. Their method was to abandon figuration and turn to the expressive power of color, which they deployed in large fields that seem to immerse the viewer when seen close-up.

In contrast to the dominant Abstract Expressionism style, reintroduced identifiable imagery drawn from mass media and popular culture. Rather than the traditional 鈥渉igh art鈥� themes of morality, mythology, and classic history, Pop artists celebrated commonplace objects and people of everyday life. (See above at 8:05 for a discussion of Jane Dillenberger鈥檚 work on the religious dimension in the art of Andy Warhol, a leading Pop artist.)

Pamela Ambrose was involved with the New Museum of Contemporary Art in New York in its formative years in the 1980s, implementing special events and collector's programs. She also served as director of two prominent New York galleries: the Monique Knowlton Gallery and the Rose Esman Gallery. Ambrose was the Executive Director of the Samuel Cupples House at 性奴调教 from 1996 to 2004. She served from 2005 to 2016 as Director of Cultural Affairs at Loyola University in Chicago and the Founding Director of the Loyola University Museum of Art (LUMA).

MOCRA Voices, Episode 5 features Ambrose and former Museum of Biblical Art Director Ena Heller, and Episode 20 features a conversation with Ambrose on the occasion of her retirement. A talk by Ambrose is part of the 2009 MOCRA panel discussion, 鈥�Art and the Religious Imagination.鈥�

Read more about , and about the .

The prospectus for what would come to be MOCRA cites the Mission Statement of the 鈥攁uthored by a group including theologian Paul Tillich and Alfred Barr, the founding Director of the Museum of Modern Art:

Religion in isolation from the arts is starved of concrete insights into the fullness of human life. Art gives religion the eyes to see man [sic] in all his dimensions, the ears to hear the voice of his inner life, and the instruments with which to communicate with man in his actual condition. At the same time, our knowledge of the past suggests that the arts excel when realized within that transcendent, unifying vision which is the heart of religion.

The prospectus also recognizes that the actual situation was more of 鈥渁n uneasy relationship between organized religion and the visual arts,鈥� 鈥渙ften characterized by suspicion and misunderstanding,鈥� with the result that 鈥渙ne of our most important avenues to religious experience, the imagination, has been deprived of contemporary, evocative images that point to God.鈥�

The prospectus offers an alternative vision. It takes note of 鈥渁 growing number of artists鈥� who have 鈥渃reated art that reflects faith expressions of, or explorations into, the religious dimension. . . . As diverse as these expressions are, they all are marked by a sense of profound respect and genuine awe.鈥�

The discussions at the ARC conference held at MOCRA in November 1992, titled 鈥�The Artist and Sacred Space,鈥� reflected the excitement among the participants about the imminent launching of MOCRA. Artist Eleanor Dickinson remarked, 鈥淎rt of the spirit and the soul is not very saleable. This museum is something we鈥檝e needed for a long time to counter the excessive commercialization of art.鈥� Over 120 people from across the country-St. Louis, New York, Washington, Chicago, Syracuse, Portland, Seattle, San Francisco, Los Angeles, and Houston-attended the conference, including about 30 members of ARC. .

Click the thumbnail to read Peter Selz鈥� letter about MOCRA in the February 1993 issue of ARTnews.