Tag Archives: radical middle

Artists of the Restoration part IV: Restorationist Manifesto

4.8.15 | | 7 comments

This series spun out of a post that I wrote that expressed a desire to build Zion through creative effort. Previously, I wrote about Mormon history and then situated that and Mormon cultural activity within the core Western aesthetic streams of Romanticism and Modernism/Postmodernism. I put you through all of that because I wanted to lay the proper groundwork for a manifesto (of sorts) that outlines a set of practices or set of elements or layers that I think will help Mormon artists situate themselves as Restorationist. I don’t suggest any specific aesthetic techniques or socio-political stances. I can’t help you escape Romanticism, Modernism or Postmodernism (although I may write about that more later). There is no Zion apart for us to flock to in order to escape assimilation. For Mormon artists, what we have is our personal activities and relationships and the community and rituals and ordinances of the modern LDS Church.   

Please note that the following is specifically for those who consider themselves active LDS. And it’s simply my opinion. But I hope that it’s a way of thinking that other Mormon artists will find useful. more

Artists of the Restoration Part III: MODERNISM & POSTMODERNISM

3.23.15 | | 10 comments

Previously, I wrote about why I’m more interested in active LDS artists who are seeking to build Zion. With this series, I’m approaching the same topic from a different angle.

READ PART I: THE LDS CHURCH — RESTORATION/SEPARATION &ACCOMMODATION/ASSIMILATION

READ PART II: WESTERN CULTURE — STUCK IN ROMANTICISM

PART III: WESTERN CULTURE — MODERNISM/POSTMODERNISM

At the turn of the 20th century, artists from a variety of disciplines sought to break free from the grip of Romanticism. They saw that realism was as much of an artificiality as what it was reacting against, and they saw that the original things that Romanticism had reacted against—cold rationalism, industrialization—had only gotten worse. What’s more Darwin and Nietzsche had showed (in very different ways that God really was dead; Freud that everybody was all messed up inside from repressing things (and because of our parents); and popular culture that Romanticism could take on virulent, sentimental, wildly successful, lucrative forms (the penny dreadful/dime novel, light opera, advertising, Beaux-Arts architecture, etc.). more

Artists of the Restoration Part II: Stuck in Romanticism

3.5.15 | | 3 comments

Previously, I wrote about why I’m more interested in active LDS artists who are seeking to build Zion. I’d like to approach this topic from a different angle.

I sometimes rant against the main aesthetic and sociopolitical -isms of our age. I do so knowing full well that I am as caught in them as we all are and that the only way out is to build a substrate of faith and good works, protected by a continual renewing of covenants so that there’s something there when all else gets stripped away by the tragedies of mortality or the tumults of doubt or the relentless winds of daily life. But that knowledge does not stop me from squirming around in the grasp of the dominant discourses. What follows is a tentative bit of thinking resulting from such squirming in relation to some thoughts on what it might mean to be a restorationist artist.

I began with a reductive history of the LDS Church. Now I do the same to Western culture.

READ PART I: THE LDS CHURCH — RESTORATION/SEPARATION &ACCOMMODATION/ASSIMILATION

PART II: WESTERN CULTURE

ROMANTICISM

Previous and then parallel to the Restoration/Separation and Accommodation/Assimilation history of the Church runs a different process: the aesthetic response of artist to the ideas of the Enlightenment. Romanticism and its offspring modernism and postmodernism (more on them later) are the only dominant aesthetic discourses that Mormons have ever known. To understand them is to understand how the particulars of Mormon art play out.

Thousands of pages have been written on Romanticism so this is going to be an incredibly reductive summary, but the narrative goes something like this: more

Artists of the Restoration Part I: A Brief, Culture-Centric History of the LDS Church

3.2.15 | | 10 comments

Previously, I wrote about why I’m more interested in active LDS artists who are seeking to build Zion. I’d like to approach this topic from a different angle.

I sometimes rant against the main aesthetic and sociopolitical -isms of our age. I do so knowing full well that I am as caught in them as we all are and that the only way out is to build a substrate of faith and good works, protected by a continual renewing of covenants so that there’s something there when all else gets stripped away by the tragedies of mortality or the tumults of doubt or the relentless winds of daily life. But that knowledge does not stop me from squirming around in the grasp of the dominant discourses. What follows is a tentative bit of thinking resulting from such squirming in relation to some thoughts on what it might mean to be a restorationist artist. To begin: two (necessarily) reductive histories of cultural currents — one of the Church and the other of Western aesthetics.

PART I: THE LDS CHURCH

RESTORATION/SEPARATION

The restorationist era of the Church obviously begins with Joseph Smith. I think we can acknowledge that much of the thinking that goes into Joseph’s restorationist project was to be found elsewhere in the world while still believing that divine revelation was involved. We don’t believe in creation ex nihilo — why should we believe in it when it comes to metaphysics? In addition, if the Restoration as an idea was going to get any purchase at all, it would need to be different enough to be compelling but not so alien as to be incomprehensible. And, of course, it would need to happen in stages, in continuing revelation. Restoration brings with it the sense of something new that was old. A refreshing. A renewal. All the best from the past and the present and whatever our prophet can see of the future.  more

Sunstone Kirtland and The Garden of Enid

5.14.14 | | 4 comments

AMVLast weekend I had the chance to attend this year’s regional Sunstone Symposium in Kirtland. I initially had not planned to attend, but after I published three cartoons in the recent issue of Sunstone, the director of the symposium invited me to give a presentation on The Garden of Enid. I gladly accepted.

Kirtland is four hours northeast of my home. Travelling with limited funds, I left at 4:30 in the morning and drove non-stop to the Stannard Stone Quarry in Chapin Forest Reservation, where the early Saints quarried stone for the temple, just two miles south of Kirtland. I had an hour to wait before the symposium, so I grabbed my camera and took a mile-long trail through the forest, hoping to see something neat—like a rock formation. The trail was all trees and moss, however, until I found the quarry itself in a creek a few muddy steps off the beaten path. A few years back, the Church and the local government had put up signage and built a wooden walkway over the creek—perhaps to prevent visitors from climbing down into the creek itself, as I was doing, to get a better view of the chisel marks in the algae-covered stone.

After snapping more pictures than I’ll ever need of the quarry, I hiked back to my car and drove to the Community of Christ’s Kirtland Temple Visitor’s Center, the conference venue, where I picked up my name tag and pocketed a few free copies of Sunstone and an old collection of Mormon cartoons by Calvin Grondahl. From there I headed to the main classroom to wait for the conference keynote address to begin and feel guilty about not making better small talk with strangers.

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Culture and being in, but not of the world

4.23.14 | | 17 comments

As I was reading the comments to Scott H’s recent AML blog post Moving Culture, I had the following thought:

In modern Mormon American communities when the notion of “be in the world but not of it” is raised in relation to culture, it is almost always the “not of” that is emphasized rather than the “being in”. And so most Mormons draw their various lines (which, as I wrote almost 10 years ago, I don’t have a problem with as long as they are honest with themselves about those lines) for what they will and will not consume, enjoy the works that fall within their lines, and then (perhaps) look askance at those who draw their lines in different places than they do.

But the problem is that this method (which I will admit to employing myself quite often) is actually addressing neither the “being in” nor the “not of” because:

1. Any culture you avoid means that you are cutting yourself off from those parts of the world and thus are not being in it. Now, obviously, there are places (and in this case I mean cultural places as in: specific works/creators and/or communities that form around those works/creators) we should not be in. And there are places that some of us can be in without causing major damage to our souls while others can’t. But we are not called to cloister ourselves, and if we have no frames of cultural reference with which to approach others, we can’t really claim that we are in the world.

2. I think (and this is based on my reading of Christ’s ministry on Earth) that being not of the world is less about not partaking in things and more about how you approach your presence in and interaction with the world. “Not of” means that the world doesn’t override or distort your Mormon worldview (at least not too much — I also believe that no one is untainted by the world). And it means bringing your worldview into play in an active, interrogating, subversive, filtering, enveloping way.

What I think that adds up is that to be “in the world,” one must be engaged with culture, and to be “not of the world” is to act upon rather than be acted upon by culture. This is easier said than done.

The Radical Middle in Mormon Art: The Radical

1.21.10 | | 15 comments

Previous Posts: Part I: Origins | Part II: The Middle 

So now that I’ve explored the origins of the term radical middle in relation to Mormon arts and culture, and teased out some of the issues related to the middle, it’s time to get radical. In the first post, I mentioned a radical movement in British Islam and noted the adjectives (creative, positive, revolutionary …) that were being used in describing this Radical Middle Way for Islam. What those adjectives indicate to me is that radical is meant to show that the middle is a dynamic place to be; it has energy; it’s in motion. It’s rising.

Now, radical is generally not the most welcome term among American Mormons. It smacks to much of the Left and/or of the political fringe. This is why it’s important to confine the term the radical middle to Mormon arts and culture and emphasize that there is room for artists, critics and readers with a multitude of political leanings (assuming, of course, that their politics isn’t the sole thing driving their artistic activity). Indeed, I think by pairing radical and middle and applying it to Mormon arts, England and anyone else who invokes the term is reinscribing its’ meaning, appropriating the adjective for our own use and changing it in the process. I’m a fan of such appropriation by an ethnic group/sub-culture. But what do we really mean by radical and how does it play out in Mormon arts and culture? The short answers are: nobody has really said much, and it doesn’t really. So unlike with the middle where I was able to explore it in depth in a descriptive way, I’m going to have to get speculative and prescriptive with the radical. But first…

Radical history and doctrine

Whatever our position in American society now (that is the tenuous semi-mainstreamed stability achieved through the embrace of the meritocracy and of alliance with conservative politics [allowing, of course, for the few liberals and crunchy cons and libertarians]), it must not be forgotten that we have radical roots. From the restorationist claims of Joseph Smith to the communitarian projects of Brigham Young, and, yes, the scandalousness of polygamy — whether you believe all that to be a concatenation of American (not forgetting the European streams of thought behind them) influences (with a touch of native genius) or the opening of the heavens and streaming of restored truths, the radical, as in the challenge to the status quo, roots of Mormonism run deep. And are the wellspring of latter-day Mormon art. more

The Radical Middle in Mormon Art: The Middle

1.20.10 | | 15 comments

The middle is an appealing place to be albeit a difficult place to define and defend. And it brings with it its own dangers. By very definition it relies on other operative ideologies and is thus too often reactive. By inclination, as I mention in the first post, it tends to be wish-washy and self-conscious (or even anxiogenic), often producing thousands of words on what it isn’t or is, seeking to write itself a space, to carve out its outer limits and vigorously defend what falls in to that space. The following is not meant to be an exhaustive exploration of the middle, but is merely an attempt to define some important strands that are woven into the concept.

Between the poles

If we take our cues from England’s essay “Danger on the Right! Danger on the Left!,” the middle is the place between two poles of Mormon narrative art. In most specific terms, it is the works that fall between the two 1990s Mormon short story anthologies Turning Hearts: Short Stories on Family Life (Bookcraft) and In Our Lovely Deseret: Mormon Fictions (Signature). It is represented by the works England selected for his own, earlier anthology Bright Angels & Familiars: Contemporary Mormon Stories (Signature). Now England does make some larger philosophical claims for what this middle is, in particular linking it to the idea of ethical fiction, but in terms of defining the middle, well, the middle is in between these two poles — between the right and the left. more