What I Learned From Some Fellow Artists...

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Last week I got to take part in Art House Dallas’ Visual Artist panel. The evening started off with a group dinner and then moved into a time of conversation. I was asked to moderate a discussion with three other visual artists on a range of topics from process to integration of faith and work.

The evening was great and I could go on about it, but the purpose for this post (if not just for me) is to write down and expand upon a few little gems that some of the artists shared.

Artist Kristen Cochran

Before the panel discussion Kristen posed this question: “There are many art worlds, each of which subscribes to a unique ideology and relationship to object-making and the marketplace. What does one mean when they say, ‘the art world?’ Which art world are you interested in pursuing, and why? Can you create your own art world that orbits the currently tangled hair ball that is contemporary art?”

In her answer, she gave a list of different art worlds…

▪               Art as an object

▪               Art as (transitory/ephemeral) experience (not mutually exclusive)

▪               Art as idea (conceptualism)

▪               Art as social experiment/event/action

▪               Art as social practice – service oriented

▪               Art as performance

▪               Art as public intervention

▪               Globalization of art: art fairs, biennales, etc.

▪               Academic art – can be insulated art world of its own

▪               Local, regional, global art worlds

This question is great because I hear many emerging artists ask, “how do I get into the art world?” Kristen’s response is, “what art world do you want to get into?”

It’s a great thing to discuss as an artist, whether you are going to work for yourself, an organization, church or community center. What world do you want to be in? There is no “one” art world anymore. There are so many ways that you can strive for uniqueness and still make a living by being involved in a certain niche.

Great question Kristen.

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Artist Courtney Miles

I suggest you check out Courtney’s work to see the context from which she is speaking. I love her stuff.

When answering a question on how she got involved in the Dallas gallery scene Courtney said, “Look, no one is going to discover you. No one really cares.”

No one really cares–this is so true. If you are an artist and you’re depressed that you haven’t been “discovered”, you need to change your game plan. Yes, your work has to be good, so keep working, but being a hustler is part of being a known artist. It involves constant work, updates, trying new things, progressing, communicating and getting out there for people to know you.

Look, we live in an overly saturated artistic world. People see so much stuff everyday it’s hard to take notice of small things. But, if you’re diligent in what you know you want to do, and you’re putting your head down and making good work, you’re giving time for it to mature, and you’re around–making connections, having your stuff up online, being involved in shows and other people’s lives–eventually it will rise. But no one is looking for you.

Don’t take it personally though. It’s not about you as a person. Really. You must believe that.

Artist Kyle Steed

First of all, Kyle inspired me to be more intentional with taking Instagram photos. So we left dinner and snapped portraits of each other. (His are obviously way more awesome than mine.)

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Kyle said something worth sharing about art and design. In trying to narrow it down to the easiest explanation, he quoted a friend saying this: “Art asks questions. Design solves problems.”

I love this. The thought it triggered in me that day was my dealings with being an artist and working at a church (createvisualculture.com).

Those are my thoughts. I would love to hear yours.

Thanks Kristen, Kyle, and Courtney for spurring me on with your talent and insightfulness.

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Originally Posted by Scott Erickson, June 29, 2012: What I Learned From Some Fellow Artists...

Featured in the Dallas Morning News!

Dear Friends, 

This past weekend Art House Dallas was highlighted in the Dallas Morning News on the front page of the Arts & Life Sunday feature. For those of you who have followed our journey over the past year and a half and watched Art House build its Dallas chapter we are honored to share this story with you, humbled by the time that author, Michael Granberry spent with us, and very excited about publicly spreading the foundation of cultivating creative community to the city of Dallas. If you haven't seen the article, take a moment to check out the story below. Thank you to everyone has played a part in our successes and community role -- we see great things ahead! 

Art House Dallas fuels creativity by bringing artists together

Space is being renovated in a building adjacent to Munger Place United Methodist Church in East Dallas for Art House Dallas. 

Jenny White and Trey Bowles begin the conversation at the soon-to-be home of Art House Dallas by playing a video, a powerful two-minute presentation that says it all:

“Over the years,” the narrator says, “Dallas natives have started to shape this city into their own masterpiece. They have built arts districts, amphitheaters, museums, concert halls, film studios and more.”

There is, however, a glaring void.

“Compared to other large cities,” the film notes, “Dallas is far from reaching its artistic potential. Texas is cutting its school art programs by 46 percent. It falls into the bottom 30 percent in live music. Dallas should be a major artistic hub — and can be.”

That’s where Art House Dallas comes in. Founded in October 2010, Art House Dallas sprang from Art House America, which began 20 years ago in the musical mecca of Nashville, Tenn. Art House America defines itself as “a unique artistic hub for rich hospitality, conversations of consequence and imaginative creativity.”

Even without a home of its own, Art House Dallas has staged 38 events in 20 months. White, a Dallas native who serves as executive director, says Art House Dallas seeks “to equip artists.” In the parlance of the day, “We connect them with each other. We also just want to encourage them, because artists are so isolated.”

White, 29, is a Texas A&M grad who grew up in Highland Park and worked in the administration of President George W. Bush from 2006 to 2008. She oversees an emerging nonprofit that in 2013 will open its own home, on the third floor of a building adjacent to Munger Place United Methodist Church in East Dallas.

It’s a $1.75 million, 7,320-square-foot project that will house under one 30-foot roof a coffee bar, a culinary arts kitchen, a recording studio, a film-editing bay and classrooms, not to mention a fireplace. The rent? $10 a year. People of any age can take part in events offered by Art House Dallas.

White, programs director Marissa Miller and their 13-member creative council hope to champion artists by giving them a place to meet, to connect and to build relationships that lead to something big.

"We serve writers, we serve photographers,” she says. “Musicians were our primary target group, because Art House America was founded by Charlie Peacock, a music producer. So much of its influence was through the music community, so we started with musicians.”

That led to a quarterly event called Feedback, which sprang from a song project instituted in early 2011.

“We had more than 60 singer-songwriters — which we were shocked by,” White says. “The musicians said, ‘We love this, but what we really need is a place to get critiques on our music before we try it on an open-mike stage.’”

Bowles, 35, who teaches entrepreneurship at Meadows School of the Arts at Southern Methodist University, is a member of White’s creative council. He sees the local chapter of Art House America as being able to provide “a collaborative ecosystem of creativity in Dallas.”

That led to Art House Exchange, which broadened the scope beyond musicians. “We can’t just serve musicians,” White says. “We need so many more creative people in the city.” She calls Art House Exchange “a pub gathering that allows everyone to come and connect — no agenda. It’s two hours where people can be introduced and take it from there.”

The future promises classes for kids and adults, films, songs, books and recipes produced by Art House Dallas alumni. Art House Dallas already boasts one success story. Singer-songwriter Cameron Ernst, a 2010 graduate of the University of Southern California, met a producer and an engineer through Art House Dallas. They’re helping him record a song titled “Love Never Fails” that will serve as the cornerstone of an anti-bullying campaign he takes into schools called “Love on the Road.”

In his case, Art House Dallas “provided the right circumstance to bring artists together for a bigger cause,” Ernst says. “I got to meet people that were passionate about the work I was doing and were willing to work alongside me.”

Bowles uses the Ernst example to note that “our overarching goal is cultivating creativity for the common good.”

It also won’t hurt a bit, White says, to start to put homegrown artists into all those buildings the city has built for celebrating art.

Dallas’ next phase, White says, should be “to focus on training and keeping the artists we have. My 10-year vision is to make Dallas a place where artists will want to move but also to keep the artists already here, who will stay and invest in our city.”

Michael Granberry

Arts and Features

mgranberry@dallasnews.com

Originally Published: 06 July 2012 05:45 PM

Photo Courtesy of Nicholas Leitzinger

Photo Courtesy of Nicholas Leitzinger

Photo Courtesy of Stephen Rhodes

Photo Courtesy of Stephen Rhodes

Photo Courtesy of Leigh Foith

Photo Courtesy of Leigh Foith

Rhythms of Rest

“In each season of life, I come up against my own finite existence, but somehow, I am still surprised by it.“

-Andi Ashworth in Real Love for Real Life

One of the songs that I’ve had stuck in my head lately is Sara Groves' "Finite", from her most recent album Invisible Empires. The lyrics play off the old Whitney Houston classic, "I’m Every Woman". She starts off the song with saying: “I’m not every woman/It’s not all in me/I’m proud and guarded/When it comes to my needs.” Sara’s lyrics acknowledge the truth that we can’t do it all, and further, that we don’t like to admit where we need boundaries and rest. 

 Like our lovely Art House America co-founder, Andi Ashworth, I am also one of those people who is continuously surprised by my own limitations. I choose to believe it’s possible to work at an intense level day after day, while ignoring the possibility that this pace of life could be detracting from my relationships and creativity. 

I need to hear over and over again the beautiful confession at the end of Sara’s song, reminding me: “I’m finite/I come to an end/I’m finite/I cannot pretend.”  Do you need to hear that as well? All I have to say is thank goodness for summer, and the opportunities this time of year provides us to slow down and recharge.  We are so desperately in need of these rhythms of rest because they help us be the kind of creative and caring people we long to be. 

As part of our mission to encourage and equip the creative community, this summer we are tangibly trying to set an example in slowing down our pace. Rooted in our belief that rest is essential to being good creators, (see also: the Genesis Creation Narrative) our team is establishing July as an (almost) event free month. We’ll be stepping back to gather perspective, plan ahead and enjoy playing with family and friends. We hope that you will join us over the next month in taking a break to catch your breath, and that in doing so you are renewed for the season ahead. 

Hope to see many of your (well-rested) faces at our Art House Exchange in August. Until then, have a great summer!

Jenny White

Executive Director

Photo Courtesy of Nicholas Leitzinger

Photo Courtesy of Nicholas Leitzinger

Earnest Words in Swirling Noise – Yankee Hotel Foxtrot at Ten

Early in college, I fell in love with Wilco. I know how that sentence sounds, but I’l write it anyway, simply because I also know how many others could write the same thing. Or if not about Wilco, then about some other band that has become synonymous with the glories and terrors of coming of age in a city not your own. So last week’s tenth anniversary of their greatest album, Yankee Hotel Foxtrot, was something of a moment for me. Not because I can’t believe it’s been ten years, but mostly because I still haven’t outgrown YHF. So much of what I listened to and read and thought and believed ten years ago has proved both embarrassing and ephemeral. But not YHF. It’s importance has only grown for me. For one, the album has such a stranglehold on my sense of taste, that I can’t help but judge other music’s greatness by its standard. It is truly canonical for me, by which I mean it is a measuring stick for other artists and albums. For another, it in some sense shaped my own sense of wanting to write. More on that later.

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Before YHF came out I had devoured *Being There* whose tracks “Misunderstood” and “Sunken Treasure” stand among my favorite all time songs. And Summerteethwas a revelation–Beatles and Beach Boys filtered through alt-country swagger. Still, for all their greatness and the obvious experimentation in those albums, nothing could have prepared me for YHF.

I bought the album the day it came out, back when people did such things. On the way home, I sat alone in my car and listened to the opening track over and over. The seven minute dream wrapped in a nightmare wrapped in a dream that is “I am trying to break your heart” took immediate hold of me. I don’t even remember driving back to my dorm. I only remember listening to that song on repeat and the vague impression of lights flashing and passing me in the dark. It was the strange lyrics, the almost haphazard drums, the plink of the child’s piano, the strained and weary voice. But mostly it was the swirl of noise, the impending sense of chaos. I reveled in the noise, turned up the volume, let it wash over me.

As the best articles celebrating the tenth anniversary of the album have pointed out, the whole album is about wanting to be understood and also about the terror of actually being understood. It’s about vital messages coded in noise and misdirection, and about the hope and fear there is someone on the other side to both receive and decode those messages. Those messages come mostly in the form of ambiguous lyrics. I will never really know what “I am an American aquarium drinker” means exactly. I can’t exegete the deeper meanings of “take off your bandaids cause I don’t believe in touchdowns,” or delve the implications of “our love is all of God’s money.” But I love these lines. Such lyrics are at once ambiguous and earnest. They are exactly the things I was trying to say, but couldn’t or wouldn’t. I understand that these are the very reasons some people hate this album. And in the hands of lesser artists such lyrics are nothing more than nonsense, or worse still unbridled pretension. But for Wilco, layered in the haze of static and delivered in Jeff Tweedy’s broken voice, such lyrics are messages about the inherent fragility of messages. There is so much say and so many ways for that to be misunderstood.

In college I started writing poetry. Partly because I had always wanted to write poetry and partly because I was hopelessly enamored with the girl who edited the literary journal for the English department. The fact that she would read the entries spurred an incredible flurry of terrible poems. And the fact that she would read the entries meant I would never dream of submitting them. Even though they weren’t anything resembling a love poem, and even though they weren’t veiled confessions of devotion, I still felt I would be exposing a nerve. I couldn’t risk being understood.

Eventually, I let other people read versions of those terrible poems. And I even wrote some more. I guess I figured that even if people got it wrong, or worse still got it right, and I was found wanting, it was still worth writing. This may have been because I came to see that the world often feels like YHF sounds.

At the end of “Poor Places,” there is a swell of static, and as it peaks you hear the faint accented voice of woman emerge from the noise. She repeats the phrase, “Yankee. Hotel. Foxtrot,” over and over, even as the static get louder and louder. It is clearly a code, a message veiled in subterfuge. It is not meant to be understood by just anybody. But it is meant to be understood by somebody. I heard those three words, sent out across radio waves, hoping to alight somewhere and to be heard by someone, as an apology for art, as a kind of artifice themselves, a cry made in hopes of making sense of things in the midst of chaos. 

In this same vein, I’ve always find a particular lyric in the closing song arresting. In “Reservations” Tweedy sings, “The truth proves it’s beautiful to lie.” Like the rest of the album the statement is veiled in ambiguity, but one way to take it is that the truth makes art necessary. We have to interpret our world, and that world is often enveloped in noise and static, not unlike much of YHF. Even so, we can take the noise and make it into something. When it comes to art, the artifice is a kind of lying, but to me such artifice proves that the world is worth paying attention to and worth interpreting after all. This is certainly why I type out words that maybe only a handful of people will ever read.  I am simply trying to make sense of the noise. I am hoping, praying even, that as I tap out dispatches, there is someone on the other end.

Originally Posted by Christopher Myers, May 7, 2012: Earnest Words in Swirling Noise...

Christopher Myers and his wife Morgan live in Dallas, where he attends Redeemer Seminary. In his writing he seeks to examine the beautiful and inevitable overlap of Christianity and culture.

To read more from Christopher Myers,click here.

Why We Gather

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Last fall on the morning after Thanksgiving, I took my coffee and journal to the big room. When our house was still a church, this room was the chapel, but for the last two decades it’s been our living room and gathering space. As I walked to my chair, I surveyed the aftermath of our dinner for twenty-seven the day before: the folding tables to be put away, the dishes yet to wash, the dirty tablecloths headed for the laundry, and the table decor of tiny white pumpkins, baby apples and pears, nuts, candles, and English laurel leaves, so carefully arranged on Wednesday and scattered and mussed by Thursday night. The kitchen was fairly clean as everyone had pitched in to help the night before. But the big room is always the last frontier. Oddly enough, I like rising to a quiet house the next morning and seeing some of the feasting evidence still in place. It helps me remember that something significant and life-giving took place in the room just hours before.

That morning as I sipped my coffee I wrote in my journal: I think everyone had a good time yesterday and that makes me happy. I’m compelled to make these gatherings possible without even fully understanding why. It seems we have a human need to observe the traditions of our culture and families, to be included somewhere, to belong. In all the years we’ve been gathering in this house, we’ve had times of coming together with hearts full of sadness and ache for those missing from the table. Death, divorce, and painful relational tensions and mysteries have left their mark. But in the returning faces and the changing faces we’ve also seen redemption. And more often, we’ve enjoyed a simple happiness cultivated through being together around food, beauty, family, and friendship. I like that our children know they can invite those who wouldn’t otherwise have a place to be. And I like that our grandchildren are beginning to collect memories of family, friends, and often strangers, gathered in a large circle of prayer, followed by feasting and talking, with pie and a game of Guesstures after dinner or an egg hunt after the Easter meal. This memory-making is important. I hope that as Chuck and I get older and the work of hosting becomes more difficult, knowing why it matters will help us continue on.

As I age, I understand the power of gathering more clearly. There’s an undercurrent of good being created through the hugs of greeting, the clink of dishes, and the hum of conversation over a meal. I know there are mysteries tied up in these things. But the knowledge has come slowly, one gathering at a time, beginning with our first holiday in a new city.  

As Thanksgiving approached in 1989, I was homesick for the loved ones we’d left behind in our move from California to Tennessee that summer. When Chuck, Molly, Sam, and I headed toward Nashville in July, we said goodbye to all that was known and familiar, and by November, I was still in transition.

With Thanksgiving in the air, I felt displaced and in need of comfort. Instead of going to our mother or aunt’s where a feast had always been so faithfully provided for us, we were on our own to figure things out. In California we’d hosted one Easter gathering and a casual Christmas dinner, but we usually made the fifty-mile drive from Sacramento to Yuba City where our families lived. I typically showed up with a side dish or a bag of rolls and stayed on the sidelines while the older women and my father-in-law did all the work. I’d never even helped with a turkey on Thanksgiving, much less cooked one myself.

But moving to Nashville changed all of that. Out of necessity I stepped into the role of  “the woman in charge of a holiday.” After multiple calls to my older sister for coaching, I baked some raggedy pies, wrestled the turkey and got it safely in the oven, mashed the potatoes, and carefully followed the steps in a cookbook to make the gravy. We invited a few friends who also brought food, and with their help, successfully pulled off our first holiday in a new city. According to my journal entry on November 26th: We had a blazing fire, played Junior Trivial Pursuit with all the kids, and the grown-ups watched Sherlock Holmes until 1:00 in the morning.

The very next month my best friend Maggie pulled in to town with her family and settled in a neighborhood not far from ours. When I left California, Maggie and I had no idea when we’d ever see each other again, much less live in the same city. We were ecstatic with our good fortune, and beginning with that first Christmas, whenever there was a reason to gather, we did it together. We shared the cooking, invited other California friends who were slowly trickling into Music City along with new folks we were meeting, and began to create for ourselves a new kind of gathering. Everyone brought food, new faces showed up every time, and the loneliness of a new city began to fade.

After a few years in Nashville, we moved our family into the Art House and our gatherings multiplied. Due to its size and personality, the old church was good not only for the community gatherings it was known for, but once we moved in and began renovations, it became the place our family and friends landed most often when it was time to celebrate. The growing experience and pleasure of ceasing routines with no agenda other than the enjoyment of food and relationship hooked me. As time passed, through Cinco de Mayo get-togethers on Maggie’s porch, 4th of July barbeques at my sister-in-law’s, and Sunday night dinners when our kids were leaving the nest, I learned the sweet anticipation and comfort of simply being together.

Now, after so many years in Nashville, my journals and photograph albums are full of the stories of these gatherings. I’ve come to see them as part of the significant work of my life. I have no guarantee they will ultimately have the effect I want them to. But what I suspect, and what I hope, is that the scents, flavors, often-used recipes, family chitchat, friends catching up, and the familiar stamp of the way things are done will seep in, helping to create a family identity and leave a heritage of belonging.

A few weekends ago in April, we celebrated my youngest granddaughter Brinsley’s first birthday with a small party at our house. I baked a Hot Milk Cake for the occasion — a vanilla cake made with milk brought just to the boiling point. It’s a recipe that was handed down by my mother and enjoyed regular rotation in my childhood. My copy is written on the back of a pink receipt for a money order purchased at Feather River State Bank in Yuba City, California, on October 16, 1978. Whenever I make this cake, the date reminds me that I called my mom for the recipe in preparation for Molly’s first birthday. I can see myself, baby on one hip and the phone cradled between my shoulder and ear, scribbling her words down on the nearest piece of paper I could find.

In those days Chuck and I were not doing so well. Our young marriage was hanging by a thread and we lived in a constant state of confusion. However, with our daughter’s birthday on the horizon, we instinctively knew what to do — make a cake and invite the relatives.

On my birthdays growing up, both sets of grandparents were always invited over for cake and ice cream. I have a photograph from my sixth birthday at the house my mom, sister, and I moved in to after my parents’ divorce. I can tell from the ironed tablecloth, the nice dishes filled with scoops of strawberry ice cream, and my cake, that my mom went to some trouble to assure that my birthday would not be overlooked in the midst of her struggles. So when my own daughter’s birthday came along inside the roller coaster of our early marriage, I followed the pattern I knew. We gathered with our collective families and celebrated our little girl’s first year of life, creating a small anchor of goodness in the midst of a turbulent time.   

Without the photographs and stories we’ll pass on to our newest granddaughter, Brinsley, she would never remember her first birthday or know the history of the cake recipe I used. She wouldn’t know who came to her party, that her grandpa decorated her high chair with pink streamers, or that her other grandma traveled from Kentucky to be there. But I hope the pictures and stories passed down will help her to know she was always adored, that she belongs in the center of a family who love each other imperfectly but with effort, and that cakes and shared meals are one of the ways we show our love.

More than anything, I want to leave my family with a heritage of belonging, of knowing and being known. I want the power of place, food, people, and God-blessed bonding to nurture our relationships and create memories that travel across time.

In her autobiography, The Long Loneliness, Dorothy Day writes, “We cannot love God unless we love each other, and to love we must know each other. We know Him in the breaking of bread, and we know each other in the breaking of bread. Heaven is a banquet and life is a banquet too, even with a crust, where there is companionship.” This is why we gather. This is how we love.

Andi Ashworth is Editor-in-Chief of the Art House America Blog. She's inspired by cookbooks, gardens in bloom, compassion, kindness, and faithfulness.

Originally posted by Andi Ashworth, May 10, 2012: Why We Gather

To read more from Andi and others in Nashville, visit Art House America's Blog.

In A Blanket of Dark, With Stage Lights & Skilled Musicians

An eclectic smattering of hipsters, artists and long-time fans stood in line outside The Prophet Bar in Dallas. Posters plastered in windows advertised upcoming bands. A Few clouds dotted the sky and cleared out as the sun set and the doors opened.

Inside the cavernous, modern club space, the stage glowed to the right with umbrellas washed in a saturated pink. Their ethereal color and simple curves blazed off the image of a black and white figure washed in a gray purple light walking a lonely alley with his single companion, an open umbrella.

Leagues, the first band, spilled out over the stage with a roll of simmering anticipation. During set-up and tuning, the band razzed each other. Lead singer Thad Cockrell’s commented, "We’re Leagues. Also known as the opener. Kind of like the intrusive conversation you didn’t ask for."

A quick count, and they were good to go.Bassist Mike Simons set a moody undertone, texturing and driving lead guitarist Tyler Burkum in the first song. The two played off each other like particles of light, setting off bursts of energy which sparked for the rest of the set. Drummer Jeremy Lutito beat out the rhythm of everything from California beach party with a punk edge. Lead singer Thad Cockrell’s bad boyswagger evoked the classic rocker vibe, but his rough voice, and searing falsetto made it his own.

Leagues cleared the stage for Matthew Perryman Jones. Resetting the mic and adjusting his guitar, the stage darkened to a single light surrounding Jones. Photo Courtesy of the Official Website of MPJWaif-like with dark eyes, Jones’ voice gave enough presence to fill the semi-darkened stage. Echoing tones of Waylon Jennings and Bob Dylan, Jones’ lyrics filled the space and lingered in the air. 

Speaking softly between songs, Jones told of how he had read letters written by Vincent van Gogh and his brother, Theo. Something of the beauty in the letters pricked at him and the album was born. Taking that spark, Jones dug deeper and found the letters of Rumi and Federico Garcia Lorca. Lorca wrote of a need for authenticity in art and, more specifically, in music. From the melancholy first notes of his first song to the last lingering reverb of "O, Theo," Jones crafted a love letter of soul-filled, technically lovely music back to his muses.

Leaving the stage dark and the club curiously pensive, Jones meandered to a space tucked behind the exposed brick columns. His quick smile and subtle humility assured that the limited copies of his individually stamped and signed CDs moved briskly.

As a tech snaked through the club taking a guitar from door to stage, bearing it like some banner over his head, the mood of the club shook and settled. Drinks refilled. Bodies moved closer to the stage.

Jars of Clay took the stage unobtrusively. Stephen Mason, Dan Haseltine, and Matt Odmark filed down the staircase and to the front of the stage. Charlie Lowell entered behind, settling in at his keyboard. Gear in place, the headliner launched into "Liquid," a song off their self-titled and most well-known CD, Jars of Clay. "Closer," from The Long Fall Back to Earth, rolled through with an easy beat. 

Just before starting Scarlet, Haseltine said the song had begun to mean something different to the band now. He shared the story of a woman who attended one of the group’s concerts and wept soulfully as the song played, then shared her story after the concert. She, who had worn a scarlet letter, spoke of the song finding her, of quieting the voices in her head. He said it gave her space to make different decisions.

Leagues’ drummer Jeremy Lutito slipped back in to run command on the snare drum for "Oh My God." His pounding, demanding beat thrummed through the space. Paired with Dan Haseltine’s rapid-response lyrics, the end of the song disquieted like a broken prayer. 

Photo Courtesy of Marissa Miller

Photo Courtesy of Marissa Miller

Then came a serious highlight of the evening, or as Haseltine described it, "one of the most hope-filled songs we know." "All My Tears" frolicked through the space with a surprising joy, showing unique harmonies between all of the band members. Voices merged, blended and then rejoined, making complex harmonies seem like easy conversation.

Lights faded slowly and leftstriking blue umbrellas in a gentle dark. The band withdrew as night seemed to settle into the club. The audience continued to clap and pound as the musicians made their way up the stairs. 

In that in-between time when the audience could have cleared out or the bands could return, paradoxes throughout the evening lightning bug-flickered through my thoughts. Unexpected music crushes Leagues and Matthew Perryman Jones sounded tinny in places, while Jars sounded just like a long-time fan would expect them to. It made me wonder how much beauty goes unseen because it’s unexpected, how much seeing only what is limits what may have been.

Spontaneous applause drew my attention back to the stage. Jars re-emerged, joined quickly by Leagues and Matthew Perryman Jones. Grouping together around the mics, tambourines and cow bells appeared while hands set to clapping out the rhythm of "Road to Nowhere."

Voices rose out of the audience, blending with the musicians’ on stage. As the song’s hook beat at the walls of the club. Somehow rather than being in a rough club in the artistic part of some urban sprawl, the space changed to a back porch out in some field. In a blanket of dark, with stage lights and skilled musicians, a community formed.

May Update: Kitchens and Catalyst

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I had a moment today when I realized I still hadn't flipped my wall calendar to the month of May. April has come and gone and we have some great events we'd love for you to be a part of this month. We continue to move full steam ahead with building plans and our architects are promising me a new 3D layout this next week that I'd love to share with y'all. I'm writing you from our interior designers' office and one of our projects today is designing the layout of our culinary arts kitchen. As someone who is passionate about food and the way it connects us to each other around a table, it has been so much fun dreaming up ideas for this particular room in the Art House. Not only am I excited about cooking in our kitchen, but I also look forward to providing you opportunities to explore your own creativity with food at our cooking classes. From bringing in some of Dallas’ top chefs for demonstrations to providing time with you and your children to cook together, I am certain we'll have a culinary experience for everyone. Let me know what ideas you have so we can add them into the mix as we are planning programs for 2013!

In addition to designing our new space, I've also been prepping to speak next week at Catalyst Dallas, where over 3,000 leaders from all over will join together for three days of encouragement and teaching on the idea of Being Present. I'm looking forward to hearing more from the two amazing women also speaking on my panel, Lauren Chandler and Jennie Allen, as well as having an opportunity to share some of the lessons learned since starting Art House Dallas. If you happen to be coming to the conference, I hope you'll stop by our Lab on Wednesday or come say hello at the Art House Dallas booth sometime throughout the event. If you can't make it to the conference, I hope to see you at some of the other events we have coming up this month! Don't miss out on our next Art House Exchange in May, as we're taking a summer break with the Exchange until August! 

Happy (almost) Summer!

Jenny

Film Review: Blue Like Jazz

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A Jazz Note:

Donald Miller – the real Donald Miller – soared to fame when his collection of memoirs and essays entitled “Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality” was released in 2003.  How on earth the book could be adapted into a narrative feature is a question anybody who has read it will probably be asking.  Whether you’re a familiar fan or not, you should go in knowing this: “Blue Like Jazz” the movie is not “Blue Like Jazz” the book.  In a necessary effort to create a narrative of Miller’s work, themes and scenes from the essay collection have been streamlined with creative liberty throughout the on-screen journey.  The end result is a film with a fictional plot and characters, whose spirit is imaginatively inspired by Miller’s writings.  Because of this – though I have read the book – I’ll be writing this review solely on the basis of the film.

Don Miller is a kind, straight-laced Christian teenager from Houston, Texas.  He volunteers for the youth group at his Baptist church, and he helps his single mother out around the house.  He plans on going to a private Christian university, but a series of unexpected events is about to shift his entire perspective on anything bearing the “Christ” prefix.  

Shortly before his planned departure, Don pays a visit to his father, who lives a starkly different lifestyle than Don and his mother.  Sitting outside of his trailer, father Miller cracks open a beer and condescendingly urges Don to get outside his church-centric bubble.  He pushes his wishes by revealing that he’s “pulled some strings,” and gotten Don enrolled into Reed college…allegedly the most “Godless” school in America.  At first, Don is reluctant, brushing the gesture off as a petty way to reconcile for years of abandonment and missed child support bills.  Then he discovers his mother is having an affair with the youth minister from his church.  Devastated, and in a heated fury of rebellion and confusion, Don takes his father’s offer.

In his first months at Reed, he starts changing – rapidly.  Don is befriended by Lauren, the spunky bi-sexual who urges him to keep his background in the closet.  He meets “The Pope,” a wild, funny and unpredictable super-senior who not only doesn’t believe in God, but also vehemently rejects the very idea of a man in the sky capable of allowing so much hurt and destruction in the world.  He also meets Penny, a beautiful and passionate Christian activist who comes off abrasive, but has a definite vulnerability that attracts Don’s attention.  

Reed College is a wild place; the campus that feels like a cocktail of “Portlandia” sketches cut with,mischievous, mildly pretentious intellectuals.  Put a sheltered southern Baptist teen in a place like this, and his world will most certainly be rocked.  Such is the case with Don.  Reed brings him new friends and good times, but with rising doses of disillusionment with his family, his faith, and above all, his undeniable lack of identity and purpose.

Deep down, Don is dealing with something most of us go through at some point.  Remove the religious elements here, and you’ll find a story about a person who is caught in a chasm between paradigms.  His peers urge him to look at the world in a different way, which is something he’s never taken the time to do before.

In watching “Blue Like Jazz,” I felt a bizarrely personal connection to the protagonist.  It was always funny to me how my high school teachers and administrators considered it their unanimous duty to “prepare students for college.”  Like Don, I grew up in ultra-suburban Texas. I went to church every week, even volunteering with the youth group.  And like Don’s, my community was overwhelmingly conservative.

So when a multitude of foundations I’d lived with for 18 years were stripped away from me the second I stepped foot on a college campus, I was dazed and confused.  Suddenly my world was vacant of an immediate group of superiors telling me I wasn’t allowed to drink, or I wasn’t allowed to engage in sexual exploits, or I wasn’t allowed to be out past midnight (yeah, I had it rough).  I was removed from my family, friends and mentors.  I was on my own in a strange, hazy, completely unfamiliar world.  For the first time, I was given a gift and a curse that would stick with me forever: complete personal responsibility.

Watching Don grind through this exciting, yet painful and vulnerable evolution in his new environment engenders empathy and admiration. The numerous similarities between his experiences and mine speak not just to our religious comparability, but to the human experience of having an entire ideology cut down as naivety. After placing so much conviction and confidence in a way of life, the mind reels when it is challenged so bluntly. It is easy to feel hurt, confused, and personally injured – as if external perspective is an insult on your own character or personality.  But it can also lead to great communication, revelation and epiphany. 

Understandably, Don felt all of that. And it resonates – seeing this guy at a pivotal transition, slowly moving from the child-like comfort of his old and incomplete faith for a new, mature comprehension of that faith and his surrounding world. Through having tender ideals challenged, his simple rock of faith is transformed under extreme pressure and stress into a diamond-like revelation, bringing him to a truer understanding of Jesus, and opening his ears and heart to the concerns and philosophy of those who thought differently.

Though “Blue Like Jazz” may wander around a bit in trying to do so many things at once, the things it tries are nonetheless virtuous – and many succeed.  The rockier moments in the script are smoothed by a wonderful cast, and director Steve Taylor should be commended for working an impressive feat with such a thin, microscopic budget (mostly provided by Kickstarter).  Despite its imperfections, the film has an incredible heart that shines with earnest humility, presenting strong, provocative messages for all viewers.  

“If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another."—Donald Miller, from “A Million Miles in a Thousand Years” & “Blue Like Jazz,” respectively.

Everyone Needs An Editor

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Your boss needs an editor.

Strike that.

Everyone needs an editor.

But first, back to your boss. How many times have you been in a meeting turned Charlie Brown special? You know your boss is speaking English, but all you hear is “WAH WAH WAH WAH WAH.” Fighting against dueling urges to check your email or stick pencils in your eyes to stay awake, you’re left with little else to do than ponder the 1,001 ways your boss could have better communicated himself. In other words, you edit them. (Whether or not you decide to make these “edits” known to them is at your discretion).

What if you lived in a magical land of efficiency where bosses ran their bullet points by an editor so that no meeting lasted longer than ten minutes? What if the main takeaway from any meeting was brought up at the very outset instead of 30 minutes later or whenever the boss tires of hearing himself speak?

Some editors are failed writers, but so are most writers.” – T. S. Eliot

But, out of the mouths of hypocrites often falls the sharpest of criticisms. I wrote a 290-word introduction to this article I thought was good and somewhat funny, but it led nowhere. I do this all the time. I start to write and think I know exactly where I want to go with an article, but, nearly every single time, I write hundreds if not thousands of words that never see the light of day beyond my own computer screen. I have to edit myself or risk publishing content no one wants to read.

Even more condemning against my hypocritical stance on long-winded bosses, I need an editor after I write, a gift not offered to public speakers. My words need “wranglin’” so that cute colloquialisms, verbosity, and an abnormal abundance of alliteration don’t attack my articles. I need someone to look at my words and tell me what’s blatantly wrong, whether I’m confusing the reader, or if I even know what I’m talking about. I have to allow others to edit my work so I’ll become a better, wiser writer.

“Your manuscript is both good and original, but the part that is good is not original, and the part that is original is not good.” – Samuel Johnson

No matter your medium, you need to allow two editors into your life. (And yes, I’m fully aware of the self-indulgence of an editor espousing that everyone needs an editor, but stick with me).

Make room in your studio for an external editor and an internal editor.

Allowing space for an external editor can be daunting to an artist, especially to those beginning to take themselves seriously. What if everyone else’s work is better than mine? What if no one likes my work? If you are a bourgeoning artist, know that these questions are often in the minds of everyone else in the room. However, you can defeat artistic insecurity by allowing like-minded individuals to scrutinize your work. 

This is one of the many reasons why groups like Art House Dallas are an immense treasure to artists, especially to those just starting out. With events like Art House Exchange and Feedback, there’s a roomful of external editors who will tell you the truth in love about your work. These are the kind of people you want to “edit” your work. 

If you’re not able to enjoy the benefits of a local meet-up, scour the Internet for like-minded people who will criticize your work with the sole intention of making you a better artist. Don’t expect such a community to find you. If you’re serious about getting better, be proactive in seeking others who can help you get where you want to be.

Creatives tend to be everyone else’s external editor, whether asked or not. While you may not verbalize it, you’ll read an article, contemplate a painting, or listen to music and think, this is good or this is beyond wretched. After all, you’ve seen enough of each to know the difference, or you have a well-defined notion of your own artistic sensibilities. But when it’s your own work, your internal editor might shut down or go into overdrive:

NO ONE IS EVER GOING TO SEE THIS. Why have I wasted days on this? It’s ridiculous and everyone’s going to hate me now.

THIS IS THE BEST THING I HAVE EVER DONE. I can’t believe it only took me a few days. I’m never going to make anything else like this in my life. The world will love me.

This is hyperbole, but if you’re nodding your head in agreement, then your internal editor needs a reality check. Don’t trust the voice that tells you what you’re doing is worthless, or that what you’re doing makes you amazing. Trust the subtle voice that says, “You need to take this small part out. You need to rearrange the order. You need to work a little bit longer on this project. Your external editor was right about that part. It’s not finished, but you’re getting close.” It’s simple, timeless, true advice — trust yourself.

Seek to find the right external editor and seek to know the real voice of your internal editor.

No passion in the world is equal to the passion to alter someone else's draft.” – H.G. Wells

The thing is, everyone needs an editor. I need an editor. You need an editor. And, pardon me, but your mom needs an editor too. All of us are all too often so myopically focused on our own lives that we fail to grasp its larger meaning, or to even see our own blind spots.

Your external editors are likely already part of your life. Think of those people, whether friends, family, or co-workers, who know more about you than anyone else. Who are the people you know would tell you the truth about any situation, even if that truth could hurt you in some way? Whether it’s related to the art you create—That’s the most ridiculous thing I’ve read in my entire life—or the life choicesyou make—You’re 29. Shouldn’t you be out of your parents house by now?—you need close friends to be the collaborative, external editors of your life.

But, ultimately, responding to those suggested edits is always and ever up to the artist. Sometimes an artist’s vision is so cemented in their mind it becomes a reality no amount of outside influence can change. Sometimes an artist’s pride defeats their openness to alternatives. Sometimes an artist’s lack of confidence leads to being too open to suggestion, resulting in a diluted vision for their creation. Balancing your internal editor with the suggestions of your external editors is a tightrope walk.

I know this inner conflict from my own aversion to being edited, even though I know such editing is for my benefit. They’re my words; I know best where to place them, but that’s writerly hubris. Allowing room for editors in my life chips away at that arrogance.

I also know this inner conflict from my relationship with God. In many ways, He desires to edit my life in such a way that makes much of Him and less of me. But, I all too often want my name in the byline, whether that’s in an article I’ve written, words I say, or the life I lead. There are days I'd rather edit Him than the other way around.

When He asks me to correct a certain part of my life, I push back because He doesn’t “understand” the big picture.

When it comes to my life, the editorial policy ends with me, right?

In A Million Miles in a Thousand Years, Donald Miller says, “You can call it God or a conscience, or you can dismiss it as that intuitive knowing we all have as human beings, as living storytellers; but there is a knowing I feel that guides me toward better stories, toward being a better character. I believe there is a writer outside ourselves, plotting a better story for us, interacting with us, even, and whispering a better story into our consciousness.”

Granted, that whisper of a better story is hard to hear above the “WAH WAH WAHs” of daily life. However, with attention to your inner editor, involvement with a community of external editors, and a humble nod to a Supreme Editor, the stories you tell with your life and your art will only get better.

Everyone needs an editor. Now go find yours.

Win A Ticket To Catalyst Dallas

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Winner, Clint Loveness, and Art House Dallas Programs Director, Marissa Miller.

Winner, Clint Loveness, and Art House Dallas Programs Director, Marissa Miller.

This month at our Art House Exchange, we partnered together with Catalyst to give away a free ticket to the 2012 Catalyst Dallas conference. Each registered guest entered a drawing to win a spot at the conference that engages culture and equips leaders shaping the future. Clint Loveness of Dallas, Texas won the conference package.

A producer at Bluefish TV, Loveness said he looks forward to attending to conference. “I was hoping I would win,” he said. “When I heard about the Catalyst conference, I thought, ‘Man, this is the perfect prize!’” Loveness said he enjoys networking and looks forward to taking advantage of the conference by telling others about Bluefish TV. “Whoever picked the ticket, picked the perfect name,” he said.

Time To Inspire

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I’ve got big news for you. It’s so big, in fact, we redesigned our newsletter just so we could deliver it to you. (Drum roll, please…)

It’s actually going to happen. The dust is going to fly. We plan to begin construction of our new Art House Dallas location in East Dallas early this summer and we couldn’t be more thrilled.  It turns out building a creative space for artists of all types takes quite a bit of planning.  After months of listening to recommendations from musicians, painters, gallery owners, engineers, chefs and filmmakers, our fantastic architecture team is wrapping up the final plans, which reflect all these ideas coming together under one roof.  I am confident this place will not only provide the necessary equipment and tools for you to grow in your craft, but also inspire creativity for anyone who walks through our doors. 

To learn more about our plan to INSPIREDallas at our new location, we’d love for you to visit www.inspiredallas.org.  We also hope you’ll follow our progress at the Art House Dallas blog as we countdown to the opening of our new space. From sneak peaks of the build out to interior design inspirations, we’ll make sure and keep you updated on our status as well as let you know about upcoming opportunities to get involved with the renovation.

In the meantime, we hope you’ll come join us at some of our upcoming events in Dallas this month. In addition to Sleeperstar’s Artist in Residency show series, we’re looking forward to the Dallas International Film Festival, which helps build the film community in Dallas. In honor of DIFF, our Featured Artists highlight some of the filmmakers in Dallas who are using their creativity for the common good.

We have so much to look forward to this month and beyond, thanks for being with us on the journey!

The Tentacled Temptations Of Technology

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I sit down in front of my computer, open Scrivener, and start to write. 

Almost. 

There's an illustration I want to use in my article, but I'm not quite sure it'll work. I type in "How does an octopus kill a shark?" Google directs me to this National Geographic clip and I get to see exactly how an octopus kills a shark. But, then I see "Cobra vs. Mongoose" in the sidebar of related videos. How can any self-respecting man not click that link? After watching a few more animals put UFC fighting to shame, I post the Octopus vs. Shark video to my Facebook, Twitter, Tumblr, and Pinterest (still self-respecting, mostly) accounts. A few minutes later, my phone buzzes with the approval of our digital generation: comments, likes, retweets, reposts, and repins.

Then I get a text message from a friend: 

Are you watching the game that's on right now?

No. I'm working.

On what?

I don't remember.

While parts of this story are wholly fabricated, it could go on. For me, it usually does and it often results in finding memes that make me laugh before they make me cry at my own inability to get things done. In other words, I'm the shark. Technology is the octopus.

For all of its wondrous benefits to humanity, technology wreaks havoc on our lives in deceptively simple ways. It interrupts our workflow. It conditions us in subtle, negative ways. Most detrimentally to artists, it steals our time.

But we can't pull the plug. Staying connected via social media is imperative, especially for a writer, artist, or musician who wants people to actually read, see, hear, or interact with their work. The Internet allows us to conduct research with the collected wisdom of the world at our fingertips. We can connect with friends and family to help keep us grounded and sane.

So, how can we stay online and yet still produce good work? How can we interact with our audience via social media without losing hours to frivolous pursuits?

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Fast from Technology for a Week

Maybe this means no social networking, or no TV or radio. Pick the issue you may have the most attachment. Keep track of what you're able to accomplish in the time you would have otherwise been playing video games, watching movies, or mindlessly browsing the Internet. Take note of the emotions you feel by having to give up a certain technological aspect of your life. Was it ever really necessary in the first place? If it was, can you stilluse it meaningfully, but maybe not as much?

For instance, a co-worker and I recently attended a preview screening of The Hunger Games. Prior to entrance into the theater, we purposefully left our phones in the car since they were going to be confiscated if we took them in. Much to our chagrin, we arrived thirty minutes early. Bereft of our constant connections to the Internet, we actually had to talk to each other. While I make light of this situation, I noticed how much I wanted to check my phone during lengthy pauses in the conversation, a sure sign I would benefit greatly from a much-elongated technological fast. Like all self-help groups will tell you, admitting you have a problem is the first step toward finding the solution. While I missed out on the instant gratification of the #jerk and #jealous replies of my Twitter followers who'd seen my last update on attending that screening, I actually got to know my co-worker better. 

Establish a No-Distraction Time

Turn off your notifications. Don't open your email. Mute your phone. If others may be impacted by your digital darkness, let them know ahead of time you'll be unavailable at a certain hour on certain days. Focus on one project during this time. 

Alternatively, you may want to try the Pomodoro Technique if you have multiple, long projects or get distracted too easily. Simply put, the Pomodoro Technique asks you to commit a mere 25 minutes to working on any single task. When a timer rings signaling the end of the 25 minutes, take a 5-minute break. This method can be especially useful for troublesome projects or when you arrive at an impasse in your work. Have you ever experienced a mental breakthrough in a strange place, like your shower or while in casual conversation? The Pomodoro Technique encourages making space for these liminal moments.

While I don't often have difficulty in focusing on one task, it's a challenge for me to take a break from engrossing work. When I'm writing and feel as if an article is flowing well, I want to keep writing until I know the article is finished, even if that means I've spent 1-2 additional hours on a piece instead of attending to more pressing matters. Establishing a strict no-distraction time would greatly help my struggling discipline as a writer as well as let my words breathe longer instead of lacerating them with a quick editorial strike while I'm still working on a first draft. Recently, I've taken to writing a first draft, waiting a few days without thinking about the article (allowing for that liminal space), then coming back to the article to edit it. This may be common practice for you already, but it has helped me tremendously, even if my modified Pomodoro Technique may take the form of working for three hours, waiting 72 hours, then coming back to the same project.

Find Software That Helps

I use Wordpress as my blogging platform and the afore-mentioned Scrivener as my all-purpose desktop writing app of choice because both have full-screen edit modes that allow a writer to be left with only a blank screen, a blinking cursor, and their own thoughts. Other apps also exist that can help eliminate distraction while working on your computer. If you're an obsessive Twitter user, consider software like Buffer or Hootsuite that allows you to queue your tweets. 

Additionally, I use Evernote to capture article ideas when they come to me. Some people may even use . . . a pen and paper. Either way, getting the idea into writing as soon as possible helps get the thought out of my head so that I'm not percolating on it to the detriment of any work that's required of me in the present moment. By using such a multi-platform, cloud-synced, easily-searchable, notes-capturing application, I can rest assured that a brilliant article idea on LOLcats vs. ROFLdogs is patiently waiting for my late-night additions, revisions, or, likely, deletions.

Regardless of the software that you use, find a system that works to cut down on every tentacle threatening to strangle the creative life out of you.

Kill the Octopus

Unless you suffer from severe technology addiction, you don't look at your phone every two minutes while on a date (at least with someone you like). Your date demands your focus and you should gladly give it to them. Maybe one of the reasons we allow ourselves to become so easily distracted from creating is that we're not as invested in our art as we thought. Consumption is easy; creation is work.

And yes, I'm fully aware of the irony in writing a blog post about taking a step back from technology while simultaneously referencing YouTube videos, internet memes, and social networks. As is often the case with writers, this is a letter to myself. 

What do you do to keep the tantalizing tentacles of technology at bay? Feel free to post your ideas and/or approach in the comment section below.

Blake Atwood is the Church Leadership Editor at Faith Village. He has never fought a shark, but battles octopi daily.

Film Review: The Hunger Games

Once upon a time, evil mastermind Suzanne Collins pit “Lord of the Flies,” “The Most Dangerous Game,” “The Truman Show” and “Survivor” against each other and forced them to fight to the death.  Several brutal bloodbaths later, “The Hunger Games” emerged, garnering the attention of critics and fans alike.

This dystopian sci-fi adventure takes place in a land called Panem – what’s left of North America after years of war and carnage.  Society is now divided into twelve districts, governed by an ambiguously powerful group of individuals who reside in the nation’s wealthy Capitol.  Each year, the Capitol holds “The Hunger Games,” where two members from each district are selected at random to fight in a televised free-for-all until one lucky young man or woman is left standing.  What’s the point of the Hunger Games, you ask?  The answer lies somewhere between “Let’s have a brutal moment of silence to remind us of the past,” “Let’s also remind citizens they should stay in check,” and “Wow, those Capitol freaks are, like, really, really messed up.”

So, our protagonist Katniss Everdeen (Jennifer Lawrence) is justifiably concerned when her younger sister is selected as District 12’s female tribute to the games.  Out of protection, Katniss does not hesitate to volunteer herself, taking her sister’s place.  Shortly thereafter, Katniss and Peeta (Josh Hutcherson), District 12’s male tribute, are shipped off to the Capitol to begin training.  They receive some help from Haymitch Albernathy (Woody Harrelson), a rough-around-the-edges drunk who was victorious in his own hunger game years before.  And they meet the quiet, mysterious President Coriolanus Snow (Donald Sutherland), whose baritone voice is clearly masking some dark secrets.

After the brief spell of luxury and celebrity treatment in the Capitol, it’s on to the battlegrounds where Katniss is faced with not only her fellow competitors, but a wide array of booby-traps, unexpected twists in the rules and unrelenting terrain.  Let the games begin.

Before I go any further, I should note I have not read Collins’ novel.  There will, of course, always be differences of opinion in those who are familiar with the source material and those who aren’t.  I should also note I actively avoided the buzz surrounding the series.  Given the “Hunger” hype-machine started shortly after the “Twilight” young-adult book-to-film uproar exploded, I expected the same rabid fandom accompanied by overwhelming praise from such fans.  And so, I confess, I was negative and irritated with such franchises.

I tried my best to purge this negativity, go in fresh, and give the film a fair chance.  And much to my shock, surprise and pride-damaging avail, I found that I quite enjoyed “The Hunger Games.”

Director Gary Ross (“Pleasantville,” “Seabiscuit”) entered the action foray with a bewildering degree of finesse.  It’s an astonishing feat when any film with a near two-and-a-half hour running time is paced so briskly we rarely find ourselves feeling any drag, especially considering the games portion doesn’t even begin until the halfway point.  And once the games do begin, Ross is smart to not go all Michael Bay on the action, grounding the camera and editing in brutal, restrained realism to wonderful effect.  Some have characterized Ross’ style as perfectly suited for the first half, but too lazy in the second.  I disagree with this criticism.  Most action films today display such flashy, over-stylized camerawork and editing the eye doesn’t have any geometric point of reference for anything on the screen. Ross proves that action-adventure can still be riveting even when you can tell what’s going on.

There’s something to be said about the casting here, too.  I can’t imagine any young actress attacking the Katniss role with as much gusto as Jennifer Lawrence.  Woody Harrelson is, as always, enigmatically entertaining.  Stanley Tucci makes a wonderful Caesar Flickerman, the eccentric host for the games.  The always charming Elizabeth Banks does a wonderful impression of Lady Gaga as Effie Trinket.  Lenny Kravitz, (since when is he acting in anything other than Target commercials) fulfills his role as Cinna, Katniss’ stylist, just fine.  Although my mind couldn’t help silently giggling in evoking Derek Zoolander after each of Kravitz’ lines: “Thank you, Lenny!

While the film exceeded my expectations tremendously, it’s not by any means a flawless run.  The filmmakers could have done with a bit more expansion of the world and structure of Panem, especially for the non-oriented audience.  I also found my suspension of disbelief reaching critical max at several points.  There are a slew of “Really?” moments throughout the film, where characters are set up as crafty or brutal as they come and make unbelievably stupid decisions.  For example, some gamesmen spend about five seconds firing arrows within inches of a trapped Katniss and then give up for virtually no reason. Really? Emotional stake for the audience is at a pervasive low throughout the entire film.

These critiques aren’t to say the movie doesn’t work, because it ultimately does.  The thrilling pace, foreboding tone and awe-inspiring atmosphere outweigh the film’s shortcomings.  I understand many critics, especially “Battle Royale” purists, are continuing to lambast both the book and the film for its lack of originality.  They’re right about that.  We’ve certainly seen all the parts that make up the whole of “The Hunger Games” in other fashions.  The question is whether or not it’s fair to completely dismiss a cinematic experience solely because it feels familiar.  For some, the answer is yes.  For me, it all depends on how well the film uses its inspiration and sources to create an enjoyable, somewhat fresh experience.  Quentin Tarantino made it his life’s work to source multitudes of existing material, throw the chunks into a blender and hit “liquefy.”  And we love him.

As much as I wanted to hate “The Hunger Games” for this very notion, I had to lay down my sword upon seeing the film.  I know that nuts, M&Ms, and dried fruit have been around for a long time, but my taste buds found this dystopian trail mix to be surprisingly delicious. 

There may not be much below the surface, but “The Hunger Games” succeeds as thrilling entertainment, and my critique and praise are one in the same: It left me wanting more.

Tyler Hiott is an independent filmmaker from Frisco, TX. He currently resides in Austin and is head writer for the film review organization "Significance and Cinema." You can read more of his reviews at www.significanceandcinema.com.

Beauty In Collaboration

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Collaboration: the action of working with someone to produce or create something.

It’s one of those words that I love in theory, but am sometimes challenged by in practice.  Don’t you sometimes feel like you could finish the project on your own faster, rather than having to bring in a lot of other opinions and slow down the process? I have to confess that oftentimes as a leader, I am tempted toward efficiency rather than creative cooperation. Anyone else?

Efficiency is the name of the game when you’re balancing the management of a start up non-profit, a capital campaign and a building renovation.  Or so I thought.  The reality is, when efficiency becomes my goal, I am often too busy to see the people right in front of me offering to help... to co-labor with me.  

I have to laugh at the irony that I am leading an organization encouraging creative collaboration as our mission, and yet time and time again, I try to “get things done” on my own.  We are all works in progress and I am thankful to be learning my limits and for the many co-laborers who have come alongside me to create and to make Art House Dallas beautiful. Artists of all types have used their creativity to produce everything from the Website, blog articles and featured artist profiles, to new events, graphic design and short films. The last year and a half at Art House Dallas has been one story after another of God providing incredibly gifted people at just the right moment to jump in and collaborate.

One such moment came last month at Pearl Cup Coffee, just down the street from the future Art House Dallas location. After a couple months of realizing I was in over my head trying to manage all the moving parts of this building renovation, it became clear I needed a co-laborer to manage the project. It was at Pearl Cup I first voiced that (gasp) I can’t do it all, and then 3 weeks later at the same table, I was offering Justin Nygren the offer to join us for this nine month project. His diverse background in music, church planting, and home renovations along with co-founding a local art non-profit made him the perfect provision for this renovation role. 

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While the last year and a half at Art House Dallas has allowed us to connect and work alongside a multitude of artists, this new space at Munger Place presents one of our greatest opportunities yet for collaboration. Now that we have Justin on board, he’ll be able to lead the team of artists from all different creative backgrounds to collaborate on the design and building of the space. Ultimately, all of this will result in a physical setting for artists of all types to come together and co-labor in their diverse creative pursuits.

The possibilities for collaboration are endless in this new space. The musician meeting a graphic designer to create their album cover. The screenwriter connecting with a filmmaker. The fashion designer hiring a photographer to capture their newest clothing line. We’re thrilled about providing a location where connection turns to creation.

The good news is you don’t need to wait for our space to start collaborating with other artists in town.  We see these connections already occurring at the Art House Exchange, our pub gathering held on the last Thursday of every month.  I continue to be so encouraged by the stories of collaboration I hear coming from people who first met at this event and are now working on a project together. Just last week I heard about a musician composing a jingle for an author’s pitch to a publishing company for their newest book!  While social networking provides all sorts of connections, you never know whom you might meet to work with in a room full of other creative people. 

Check out some of our upcoming events below and start meeting with others who can encourage you in your creative pursuit and personal development:

  • Art House Exchange (Thursday, March 29th St. John’s Tavern)

  • Songwriter’s Dinner (Sunday March 31st, 2 Locations)

  • Catalyst Conference (Labs: May 9th/ Main Sessions: May 10th-11th) **Register by March 29th for a Special Art House Dallas rate.

Film Review: Chronicle

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There’s no question that the vast majority of stories told today are centered around an evidentprotagonist, someone who, like us, is flawed, but attempting to fix that flaw. They want something, and they’re having a hard time getting it. We’ll go see that movie, watch that show, or read that book a thousand times over and love it every time. Why, then, would we ever want to subject ourselves to a reverse of that structure? What’s so engaging in watching a character – who already may be more flawed than any average protagonist – walk down a path ripe with depravity and come out even worse?

Whatever the reasons may be, we’ve been doing it for quite a while. Raise your hand if you’ve seen “The Godfather.” We have proven ourselves to be quite interested in antihero/villain centric stories. Television has caught on to the trend: Walter White of AMC’s “Breaking Bad” is nearly a household name by now. And the legacy continues in a theater near you. Enter: “Chronicle.”

Someone wise somewhere once said, “With great power comes great responsibility.”  Hello, over-arching theme of the entire superhero genre. However clichéd the trope may be, “Chronicle”dives a little deeper than what we’re used to with the archetypical superhero story. When the three main characters stumble upon their telekinetic abilities, they don’t exactly take it upon themselves to go out and start moonlighting as vigilantes.  On the contrary, they’d rather prank their classmates and play chicken with jumbo jets.  But it’s all fun and games until someone gets hurt…or someone puts the hurtin’ on.

At the core of this tale is high-school teenager Andrew Detmer (Dane DeHaan), a bullied and powerless young man who’s taken a lot of unfair beatings from life – an abusive father, a mother dying of cancer, endless bullies at school. But Andrew is about to get all the support he needs in the form of an incidental telekinetic power.  The question is what happens when the powerless become powerful overnight? Better yet, what happens to an individual’s emotional state when such overwhelming power is discovered?

In Andrew’s case, the answer is ugly. When a sudden ability to distort physics at will enters the equation, his pain and anger are amplified to an unfathomable degree.  Andrew’s rage remains subtle and quiet the first half-hour of this cleverly shot found-footage venture, but when he finds that outlet to express distaste for the way he’s been treated, boy does he use it.

In its own way, “Chronicle”is a broad character study, a thought-provoking cause-and-effect metaphor illustrating that what lies inside a person defines the way they use whatever power they possess. And though the film is obviously a fictitious tale, the illustration is unsettlingly insightful. In reality, when we recall any powerful figure in history, are we able to separate them from the decisions they made through their power?  Or do we define them by those decisions?

Great power can be sought after or stumbled upon by accident. It can be given, and it can be stolen.  But none of this really defines what makes power powerful. The context given to any power lies within the heart of its user. Few of us will stumble upon a massive alien rock underground and develop telekinetic abilities as a result. You know what, I’ll modify that. None of us will. But “Chronicle” hurls the fictional hypothetical at its audience anyway: What if you did? Can you say with certainty what you would do with such power?  For me, the thought is a tad bit terrifying. And I think it’s that exact thought that keeps us coming back to this kind of narrative.

The antihero engages our ethical sensibilities in a way that Clark Kent can’t. We may not be asked to agree with him, but we’re challenged to understand why his journey is the way it is. We’re expected to understand why he uses his power the way he does. And in the end, I think the answer is pretty simple. It’s a reflection of his heart.

Perhaps that’s why the idea of incredible power is at once exhilarating and terrifying, and perhaps that’s why this average-Joe-gone-bad story continues to be told. Characters like Michael Corleone, Walter White, and Andrew Detmer beg for our sympathy, yet at the same time their actions shock us. Their stories entertain us, confound us, and ultimately ask us to consider what we would do in their shoes.

What are you capable of?” Asks one of the film’s taglines. The scary truth that “Chronicle” hints at: If it’s physically possible and your heart is willing, you’re capable of it.  The follow-up question I found myself asking is: ”What do I want to be capable of?”

I’ll opt out of telekinesis.

Tyler Hiott is an independent filmmaker from Frisco, TX. He currently resides in Austin and is head writer for the film review organization "Significance and Cinema."

Art House Dallas Guest Blog: The Disciplined Life

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“There is no such thing, we discovered, as disciplining one corner of a life. There are only disciplined or undisciplined lives.”—Carey Wallace, On Discipline

I attended my first Art House Local event last night, a quarterly meeting of creative Christians birthed out of Art House America. Dotting the DFW landscape, multiple groups met to discuss Carey Wallace’s short article On Discipline.

As I tweeted the night before, it’s an incisive read, like a doctor who wounds you for your own good.

Conversation freely flowed in our group as we shared our concerns, our fears, and our commonalities as Christians and artists pursuing “creative community for the common good.” In addition to extolling the benefits of this unique group (which is reminiscent of the type of community surrounding the STORY Conference), I’d like to share a few of my answers to the questions we were asked. I’d love for you to share your own answers to these questions as well.

1. What habits helped when you were creatively stuck?

Remembering that certain pieces I’ve written before have worked, i.e., they’ve resonated with people. Not everything I write will be amazing (not even close), but the inverse is also true: Not everything I write will be terrible. I can press into the work by recalling how God’s chosen to use certain articles to encourage people, or to help me get a job.

2. What are the strong habits that make strong work?

• Acknowledgement that art requires sacrifices in time, money, relationships, etc. Our host made the point that sometimes that sacrifice means even laying down good work so that you can do great work.

• Dedication to getting, and keeping, your butt in the seat to get the work done. The other attendee goes into her studio every day of the week and paints for three hours each day. If only I had that kind of dedication!

• Confidence in yourself, i.e. confidence in God’s lead in your life. Another challenging part of On Disciple said that your spiritual disciplines and your creative disciplines are synonymous. You can’t be either/or. You have to be both/and. Read the opening quote of this post again.

• Abstinence from even coming close to your spiritual pitfalls.

3. What artists do you know and what are their habits?

Of the few that I know personally (who are mostly musicians), it’s the practice time out of the spotlight that matters. If you’re an artist, whether a painter, musician, singer, writer, sculptor, or graphic designer, what are your habits that allow you to get work done?

4. What do you make of the correlation between spiritual practices and artistic practices?

I wouldn’t have put those two together before reading the words Wallace wrote, but it’s blindingly and judgingly apparent now. How do I get disciplined? Can I tell myself to just do it? Should I punish myself if I don’t dedicate specific amounts of time per day to writing and relating to God? Do I have to do one before the other comes along? Does it start with the willingness to start? Personally, I haven’t been showing up for either of these practices, so it’s little wonder that I’m still riding the proverbial bench.

5. Does artistic success come down to inspiration or discipline?

Yes.

Maybe it’s circular. In The War of Art, Steven Pressfield talks about the Muse, and how she may not visit often, but when she does, she sure better see your butt in the chair, or your arm in the air painting, or your mouth singing. If she doesn’t see you putting in the hours, she’s not going to grace you with her presence. She flees from the lazy. That’s why the “artists” waiting for inspiration might eke out one phenomenal piece in their whole life, but they likely won’t become a professional artist who gets paid to do what they love.

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So, choose a question and let me know your thoughts in the comment section below. If you missed the article, download the PDF here.

Blake is a writer, Church Leadership Editor at Faith Village and musician. You can follow his blog at www.blakeatwood.com.

Film Review: Extremely Loud and Incredibly Close

It’s difficult to talk about Stephen Daldry’s Extremely Loud and Incredibly Close without mentioning the bad press it’s received. Just take a moment to look at some of the negative blurbs listed for it on Rotten Tomatoes. Lou Lumenick of The New York Post calls in “Oscar-mongering of the most blunt and reprehensible sort,” while Peter Howell, writing for The Toronto Star, refers to it as “9/11 porn.” And then there’s Manohla Dargis’ review for The New York Times, where she calls it “kitsch,” adding that “yes, you may cry, but when tears are milked as they are here, the truer response should be rage.”

Personally, I can’t put myself in the same group as those who were offended by it. The aspects they found so distasteful—whether you’re talking about its narrative structure or emotional score—felt organic to me, not forced. Which has left me wondering: Am I missing something?

I’m not going to lie, I’m a young enough critic that when I see so many respected professionals dismissing a movie I genuinely enjoyed, I become self-conscious. In a way, I picture myself as that shy, nerdy kid at the back of the class who only raises his hand cautiously, if at all. I start to wonder, what am I not seeing? Where did I go wrong? And do I dare stick up for it?

In the end, though, I have to be honest and admit that I just don’t see what everyone is so upset about. In my view, Extremely Loud and Incredibly Close tells a genuinely moving story, aided by a dazzling score from Alexandre Desplat and fine performances from Tom Hanks, Sandra Bullock, Max von Sydow, and newcomer Thomas Horn. If the ending is a tearjerker, I’m not sure what else we should expect. People want to fault director Stephen Daldry for pushing the audience towards feeling something, but wouldn’t it have been another crime entirely if he’d drained the story of emotion completely?

And therein lies the dilemma that Extremely Loud ultimately raises: how do you effectively make a movie about 9/11 without potentially offending anyone? Emotion is inherent to the Hollywood drama, and all storytelling for that matter. Without it, you’re left with an empty shell. But even though we expect artists to structure their stories for maximum impact, and in the case of filmmakers, to bring them to life with images and music, how do the rules change when the subject matter is potentially sensitive? Should we honestly expect directors to forego using the normal tools in their toolbox?

As an example, consider Steven Spielberg’s War Horse for a moment. Like Extremely Loud, some critics have charged War Horse with trying too hard to make the audience feel something, but I’ve yet to hear anyone accuse Spielberg of exploiting World War I in the process. And yet Spielberg’s material, on a purely basic level, isn’t any less tragic than Daldry’s. Both use well-known historical events to tell stories about young characters introduced to the sometimes grim realities of life. What separates them—aside from the absence of a horse in Extremely Loud—is time.

I don’t think it’s a stretch, then, to say Daldry’s film may eventually have its day when we’ll be able to talk about it purely as a story and as a well-made Hollywood drama, and even as a kind of magical-realist fairy tale, which is how it strikes me. For now, though, 9/11 may just be too fresh for some of us to accept it with open arms.

Andrew Welch lives in Denton and is a movie critic for RELEVANT magazine and Art House Dallas.

The Diversity of Creativity

“So what’s your area of creativity?” she asked me casually after exchanging names for the first time at St. John’s Wood last Thursday night.

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Her question was a fair one considering our purpose for hosting the Art House Exchange.  In fact, my new friend was doing exactly what we hoped people would do at our monthly pub gathering for creatives.

I’ve probably been asked this question hundreds of times since becoming Director of Art House Dallas. I have to confess that for a very long time, I always wished I had a better answer for those inquiring. It seems like a fair expectation that the leader of this organization would have some focused artistic talent driving their love for helping other artists. 

“I’m an organizer for artists, a creative connector,” I answered back to my new friend. 

 It was clear that she was expecting me to say something along the lines of being a painter or a writer or photographer. While I love to dabble in all those areas, I’m also the first one to admit I’m never going to be esteemed as a “great” in any of those creative pursuits. Yet, I’m learning that my particular gifts of creativity don’t have to fit within our mainstream awards ceremonies to validate its merit. And neither does yours.

This is not to say I wouldn’t love to have a voice like Adele, but it has certainly been freeing to realize we all have a creative offering to contribute to the world.  I remember the first time I went to the Art House in Nashville three years ago for a singer/songwriter retreat. I was surrounded by all of these phenomenally talented musicians. I was there to help with a retreat for musicians to connect with each other and be encouraged in their pursuit of writing mainstream music for the common good. In light of the fact that I can barely play the triangle much less sing a harmony, I couldn’t help feeling a little out of place. I loved hearing their stories and music, but what did I possibly have to offer to all these musicians that would be of any value?

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I was certain at the time my only offering could come in the form of being able to write impressive lyrics or join in with a mandolin accompaniment. On the last day of the retreat, I got into a causal conversation with a girl named Adjoa living in LA and looking for a tour manager. I jokingly told her I would do it since it sounded a lot like what I did with trip planning in the White House Advance office. If I could help with the details for the politicos focused on policy, perhaps I could use my same organization skills to help bring order to a creative musician’s life.

While I didn’t actually become Adjoa’s tour manager, the conversation we had that afternoon was a pivotal point in helping me see for the first time how God could use my love of organizing events and connecting people as a creative offerings. An offering that would help others bring their specific beauty to the world and perhaps even play a role in introducing two people to collaborate and create something more amazing than they could’ve on their own.

Thank goodness for friends and community that can see our gifts oftentimes more clearly than we can see them ourselves. This is a one of our greatest motivations in providing opportunities for y’all to come to events like Art House Local, where you can sit with a small group of friends in your area of Dallas and talk about what it looks like to pursue artful, faithful lives.

It’s so easy to get stuck into thinking we need our creativity to look like a musician or a painter. What would our world look like without inventors and chefs and architects? Without teachers explaining complex ideas in a way we can understand? Without mothers creating a home that feels comfortable and cooking meals for our growing bodies? Without a physician creating the plan to bring a sick child back to health and flourishing? Without entrepreneurs creating businesses that care not just about the financial return, but have a passion for social responsibility?

There is so much beauty in the diversity of creativity and the Creator has gifted you with something specific to offer to the world. Whether you are clear about your gifts, or still trying to become comfortable with the idea of being a creative person, I hope you’ll come take advantage of some of Art House Dallas’ upcoming gatherings.  It’s not about being the most creative person, it’s about figuring out what you’ve been created to do and doing it.

Art That Challenges: Aesthetic Challenges

This is the second in my series of articles about art that challenges and how we respond to it. In my previous piece, I laid out several categories of challenges art can present us with. The first category is Aesthetic Challenges—that is, art that may be opposed or offensive to our tastes or that may confront our ideas about what beauty is and what art should be.

For me there have been several experiences of this, but the example that comes to mind first is hard music. Just to demonstrate my age, I grew up in the '80s. I cut my teeth as much on Michael Jackson and Phil Collins as I did on my parents' music—Elvis, Motown and Johnny Cash. So, as a young man in the '90s, as I was confronted more and more with hardcore, punk, industrial and goth music, I was very uncertain of it at first. It interested me, but was honestly intimidating.

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I remember listening to my first tape (yes, tape!) of what I considered “heavy metal.” It was the Orange County, CA band Plankeye, whose first album was a rough demo tape picked up and released by the pioneering Christian rock label Tooth & Nail. The drums were aggressive and came on the upbeats. The guitars were crunchy and noisy, the lyrics came fast and furious and everything sounded dirty, raw. I was fascinated, but wasn't sure if I really liked it. At first, it actually turned my stomach a little. I had trouble eating while listening to the album. It didn't make me ill, just...uncomfortable.

So why did I keep listening? There were a number of reasons. First, this was supposed to be “Christian” music. I knew Christian music as Amy Grant, Gabriel (remember them?) and Michael W. Smith. Smith's “Secret Ambition” was one of the most rocking songs I knew. Still is, but not in the same way. Anyway, I was torn. Christian music—indeed Christianity—was supposed to be safe. This music sounded dangerous, edgy, threatening. Could there be value here for a Christian?

Secondly, many people I knew and respected, guys and girls in my youth group who were a few years older than me, were listening to harder stuff like Sometime Sunday, Mortal, Lust Control and Focused. Some of this stuff was heavy grunge, some of it hard punk, some of it hardcore and the early stages of what would become rapcore. People screamed and growled on these albums. I had to cover my ears sometimes in my friend Brock's older brother's backseat just to avoid ear damage. My elder companions got something out of this music and I wasn't sure what. I wanted to find out.

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Also, I was at a place in my life when I wanted to be unsettled, needed to be uncomfortable. I admit, I went looking for a challenge. As I got past the aural shock of transitioning from neo-Celtic prog-rock jazz (itself a revelation) to increasingly harder, darker and louder music, I began to see artistry in what was going on. I heard lyrics I could actually relate to, ideas I liked, and I felt emotions I'd wanted to express but hadn't found a channel for.

I began not only to stretch and adapt my aesthetic tastes, but also to dissociate my aesthetic biases from a presumed theological significance. I realized that much of my apprehension about these things had more to do with cultural expectations that had been given spiritual significance than with the intrinsic value of the music. Things like anger, aggression, satire, and the unruly activities involved with playing hard music were supposed to have no place in a “good” Christian life.

Since I worked in the Christian retail industry and specialized in music (eventually at the largest Christian store in America) I constantly encountered the quick judgments and disdain heaped on this type of music, even as it expressed and strengthened the faith of people like me who were increasingly out of step with radio pop.

The first store I worked at had fliers for local Christian clubs and rock venues on the front counter. The fliers were made using random images cut from who knows where, assembled and photocopied onto pieces of colored paper. I remember a woman in her sixties or so picking up a flier adorned with an image of a boy holding an ice cream cone. “This is Christian music?” she asked. “Yes, Ma'am,” I replied. She humphed a little and put the flier back, obviously disgusted. “Looks pretty worldly to me.” I let her end the exchange there.

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In my head, though, I said, “Worldly? As in sinful and not honoring God? Because there's a picture of a kid with an ice cream cone on it? Get a grip, lady!” In that moment, I was reflecting an altered perspective. I was looking back on a mirror of myself—myself as I used to be. I saw how quickly I had judged things, how easily I had written them off, simply because they disagreed with my aesthetic sensibilities. It angered me.

After that, I stopped looking down on music just because of its genre. Many of my contemporaries thought Bill Gaither's Southern Gospel sing-a-longs were old fashioned and boring. I admitted they sometimes got on my nerves, but I saw such a great effort at preserving a musical legacy that I could never disrespect them and I often enjoyed the music. I was increasingly dissatisfied, though, with radio pop as it grew tinnier and shinier and way too sugary. But I knew that many of my customers were (by means that to my mind could only be the mysterious ways of God) truly uplifted and encouraged in their faith, even challenged to live better lives by Avalon or even (shudder) Jump 5.

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Since that time, I've noticed something. My aesthetic boundaries in general have softened or altogether come down and I can appreciate a wider variety of music, film, painting, sculpture, dance, theatre or any other art than I ever have before. You know what else I've noticed? It's not just screamo and radio pop I can refrain from judging too harshly. It's other people.

When I worked in retail, I used to say that my job was to connect people with product—the right product for their needs. And, since every book, film, painting or CD (or cassette!) had at the other end a person who wanted to express something to others, my real job was connecting people with other people. So, I stopped seeing just a book on the shelf; I also saw the person who wrote it. I then began to take my habit of looking for the best in a work of art and apply it to the people I encountered every day.

My last day on the job at the store where I worked, there was a woman no one wanted to help. She was picky, time-consuming and terribly frustrating. I saw my manager trying to stay calm as he spoke with her, but growing red from the base of his neck to the top of his bald head. I walked by a fellow employee—one of the nicest guys there—who said, “I refuse to help that lady! If she comes up to me and asks for help, I will just ignore her and walk away!” Well, she didn't come to him. She came to me.

She was very particular about music and would ask endless, nit-picky questions. She would ask me to identify specific instruments she heard in tracks on the listening center's computer so she could find more music with that instrument. She totally derailed me from anything else I was doing, monopolized my time and tried my patience. But ultimately, after I had stayed an hour overtime to help her, she was satisfied.

As she held a small stack of CDs in her hands and smiled, all her questions answered to her complete satisfaction, I couldn't escape the idea that I had just ministered to this woman. I gave her all the attention and help she needed when no one else would and that mattered to her a great deal. I'd never felt better about doing my job and I walked away, never to return.

As I compare that moment with the anger I felt toward the lady who disapproved of the club flier years earlier, I hope I learned (and am still learning) to seek the good in people I don't understand or even like and to respect the value they may have in someone else's life. And I suspect that, if I have indeed grown in that way, it was at least in part due to the fact that I kept listening to a tape of noisy rock music, even though it made me uncomfortable.

You may not experience such a change yourself. You may come away from a work that offends your tastes and remain offended, but I hope you won't completely write off that work's value, or the value of the person who made it.

Next month, we'll talk about moral and ethical challenges in art. In the meantime, I hope you'll share your thoughts in the comments section and your stories via kevincneece@ymail.com. I may include your contributions in a future post.

Kevin C. Neece is a Contributing Editor for Imaginatio et Ratio: A Journal of Theology and the Arts, a Pop Culture Columnist for New Identity Magazine and the Founder and Editor of UndiscoveredCountryProject.com, where he writes and speaks on Star Trek from a Christian worldview perspective. He also writes and speaks on other topics at kevincneece.com and JesusFilms101.com.

My Favorite Films of 2011

On account of the fact the 2012 Oscar nominations were officially released today, we asked one of our movie critics for a list of his favorite films from the past year. Needless to say, he delivered. The following is a list of favorites from Andrew Welch.

My Favorite Films of 2011

Because I'm not a full-time critic and (unfortunately) not part of any critics group, I don't have the kind of access to films that other critics have. I'm able to make it to a press screening from time to time, but living in Denton makes it much harder to do that on a regular basis, seeing as how they're all in Dallas, at least an hour's drive away.

Still, I did my best last year to see as much as I could, and as a result, I probably saw more new movies in 2011 than I ever have before. That doesn’t mean this list is authoritative in any way—these are simply the movies that captured my attention and imagination throughout the course of last year.

And now, the list (in alphabetical order):

Certified Copy

Of all the movies on this list, Certified Copy is the one I'm just getting to know. Directed by Iranian filmmaker Abbas Kiarostami, it centers around one emotional afternoon shared between an antiques shop owner (Juliette Binoche) and a writer (William Shimell). At the film's start they appear to be strangers meeting for the first time, but by the end all our presuppositions about them will be called into question. Are they actually married, as the ending suggests, or merely playing out some elaborate game? Multiple viewings may (or may not) unlock the answer, but regardless, Certified Copy evokes a dreamlike feeling without relying on surreal imagery. Instead, its power is derived from the virtuosic performances of Binoche (who won the Best Actress prize at the 2010 Cannes Film Festival) and Shimell, as well as Kiarostami's painterly compositions. Certified Copy is realism at its dreamy best.

Drive

For a long time I resisted Drive, in part because of its over-the-top violence and also because the story sounded so generic. I mean, how many times do we need a movie about a heist gone wrong? Don’t they ever go right? But of course, the point of a genre picture isn't so much to break new ground but to break similar ground in a different and surprising way, and Drive certainly does that. It’s an homage to genre, to archetypes, and it has a distinctly eighties vibe. The result of all these things combined is, strangely enough, quite beautiful and surprisingly complex. It would seem that by pairing Drive down to only its absolute essentials, director Nicolas Winding Refn and screenwriter Hossein Amini have managed to create a genre pic more captivating, nuanced, and disturbing than it might at first appear. This was my surprise of the year.

Midnight in Paris

Woody Allen's latest movie—his 41st—is gorgeous, both in the way it's photographed and in the melancholic way it taps into a familiar longing for “the other side” (as in “the grass is always greener on…”). Also refreshing was its more upbeat, optimistic tone, as compared to most of Woody Allen’s other films, which can be more than a little soul-crushing. The tradeoff is that it may be more quaintly charming than anything else, but where’s the crime in that? A good story well told is hard to come by, and Midnight in Paris scores higher than most on both points. 

Mission Impossible: Ghost Protocol

Mission Impossible franchise has replaced the first as my favorite, but I can at least say it’s in the same league. Brad Bird, who previously directed the excellent animated films The Iron Giant, The Incredibles, and Ratatouille, proves to be just as capable with live-action (emphasis on the action), while Tom Cruise’s willingness to perform his own stunts lends every major set-piece an air of credibility that CGI just can’t top. Ghost Protocol doesn’t have the most inventive of plots, but it has more imagination and genuine excitement than nearly all of this year’s big-budget blockbusters combined.

Of Gods and Men

What I remember more than anything about Of Gods and Men is the stunned silence of the auditorium as the end credits began to roll, and the palpable sense that speaking or even moving would be disrespectful. It was as if everyone in the room had all been transported away from our little corner of the movie theater to someplace holy, mystical, mysterious. What Xavier Beauvois and his talented cast have wrought in Of Gods and Men is not just a moving work of art but a transcendent example of what can happen when religious faith is portrayed with dignity, humanity, and above all, when it's not used to preach but to explore essential aspects of a character (or in this case, characters). I wish more films had the courage to explore the territory Beauvois covers here.

Poetry

I've only seen two films by Lee Chang-Dong (Secret Sunshine and Poetry), but in both cases I appreciate the unhurried and surprising ways they unfold. They don’t appear to follow any set pattern but instead meander like a shallow brook, resulting in intensely character-driven and often perplexing stories that leave you feeling like you’ve only just skimmed their surface. It’s rare that a movie makes me feel this way, and to have had such an experience twice within two weeks (both films are currently streaming on Netflix) is incredible. Poetry in particular has a kind of fragile quality about it, marking it as the work of an insightful, humane, and detail-oriented craftsman. From beginning to end, it’s obvious that Chang-Dong sees the world in a vastly different light than most of us do. For him, it’s coated in warm, golden sunlight, even as it’s bordered by shadow.

The Tree of Life 

I resisted the urge to rank my end-of-the-year list, but I have to confess that The Tree of Life is by far my favorite film of 2011. To me, nothing else comes close to matching its beauty, wonder, and imagination. I’ve yet to go back and watch it on Blu-Ray, but when I do I suspect I’ll discover details and nuances I didn’t see before. Roger Ebert called The Tree of Life a prayer when he first wrote about it for his blog, and I’m not sure there’s a better way of putting it, whether you're talking about its lush photography, meditative, or the way it explores mankind’s relationship to God and the universe. The 20-minute creation sequence alone is one of the most awe-inspiring sequences I’ve ever seen on the big screen. You can read my full review here.

The Trip

On paper, The Trip doesn’t sound like the most exciting of movies. After all, how much fun can it really be watching two well-to-do British comedians crack jokes at each others’ expense while enjoying one fine meal after another. Well, it turns out it’s pretty fun. Directed by Michael Winterbottom, The Trip stars Steve Coogan and Rob Brydon as fictional versions of themselves. Of the two, Coogan fancies himself the more successful (not to mention more talented), but in moments when he’s alone we can see he’s clearly not as content with life as Brydon is. These quiet character moments, combined with the hilarious one-upmanship between The Trip’s stars, add depth and a sense of sadness to what could’ve been just a flimsy comedy.

War Horse

If War Horse comes across as overly sentimental, I think it’s for good reason. As others have already noted, Spielberg’s latest epic is based on a children’s story, and, stylistically, pays homage to Hollywood’s Golden Age. But beyond both of these reasons, I think Spielberg needed to show us such exaggerated innocence because of what was to come. War is ugly, and though War Horse isn’t as graphic as Saving Private Ryan, it doesn’t shy away from the horrifying realities of combat. We’re still brought face-to-face with the mud, the damp cold, and yes, the battlefields littered with corpses. How would these moments have looked to us if Spielberg hadn’t first shown us such pure innocence at the beginning? Would Albert and Joey’s journey still be as meaningful as it becomes? War Horse may have its sentimental moments, but it’s difficult to feel the impact of the Fall if you’ve never experienced the Garden in the first place.

Win Win

A great story is one that teaches us something essential about life without relying on simplistic moral arguments or preaching. Preaching's easy, after all—it’s much harder to convey with grace and humanity all the various complexities that can make life so challenging. And to me, very few movies from 2011 did this better than Thomas McCarthy’s Win Win. Paul Giamatti plays the main character, Mike Flaherty, a man we can identify with and understand even as we recognize his mistakes. But instead of making Mike unlikeable or letting him off the hook, McCarthy nudges him towards growth the way a loving parent might or the way God himself might. Right now, The Descendants is the family drama that’s grabbing everyone’s attention, but it pales in comparison to the riches of Win Win.

Other notables films: The Adventures of Tintin, The Artist, Attack the Block, ContagionThe Descendants, Harry Potter and the Deathly Hallows Part 2, Hugo, The Muppets, The Rise of the Planet of the Apes, Source CodeTerri, Tuesday After Christmas, Weekend, Young Adult