The crisis in art today, where nobody much seems to know how to move beyond the sterile opposition of kitsch sentimentalism on the one hand and in-your-face brutalism on the other, is not to be solved, as Roger Scruton in his recent work seems to want to solve it, by a return to an early Romantic sensibility, however preferable that might be to some of what’s on offer today. The only way forward is to put back together what ought never to have been separated, so that, just as with God and public life, God and politics, God and art need to come once more into the same room and do business with one another. As with God and politics, this will be a huge struggle because there are so many ways of getting it wrong. But the church desperately needs artists of every sort, from sculptors to storytellers, from painters to potters, from singers to seamstresses, and so on; artists whose work will draw attention not to itself, the nemesis of an atheistic aesthetic, but rather to the glory of God. After all, if new creation has begun, if beauty has awoken afresh in the new Temple, the living home of the living God, as he awakens from the tomb, and if beauty is now let loose in all the world, it will rightly generate new forms, new possibilities, new delights. It will come closer and closer to its two senior cousins, Love and Truth, showing with them how to avoid the other false polarization, a brittle objectivity and a collapsing subjectivity, because it will be kept in place by the work of image-bearing, Spirit-filled human beings as they reflect the glory of God into the world and the glory of the world back to God.
Praise God, men and women dressed in brown, carrying your lives on your backs. Praise God, street-side café with your goggle-eyed Chihuahua sign. Praise God, scrap metal horse. Praise God, basement shop full of silky foreign scarves.
Praise God, shoe store so proud of being in Collegetown since before you were born.
Praise God, little tattoo parlor with the brass sign on your inner door, Confessions, 3-5 pm.