Not exact matches
Getting to know someone for whom
faith looks differently helps us take the first step out of the comfort zones of the
faith communities and the
traditions we know and cherish.
As is often the case when I write about confronting doubt or questioning certain theological
traditions, I
got a message or two urging me to stop asking so many pesky questions and just enjoy the bliss of absolute certainty that should accompany true
faith.
@Noah Yeah, their
traditions and those visions
get them every time... They put much
faith in them, because thy don't have true spiritual discernment.
All of us who care about both
faith and economics are indebted to those theologians who are
getting to grips with economics because the gravest temptation we face is the rending asunder of theology and economics — if this process were to be completed an ancient
tradition would disappear.
We may
get away with it in so far as poverty, oppression, and injustice are concerned, but we will hardly find room for those
faiths, cultures and ideologies outside the sacred
tradition of the church.
If they do this, one can not
get out of such a situation by the application of doublethink, appeals to knowing «by
faith,» or even by relying on
tradition as authority.
In this interview, Krasner speaks of her dismay with the lack of recognition that many professional female artists receive; her resistence to joining the Club and the Irascible Eighteen; her experiences with
getting exposure as a female artist; her relationship and respect for John Graham; the interest of Betty Parsons in Krasner's work; the mixed compliments received from Hofmann; her relationship with Newman; Her objection to de Kooning's «Woman» series; the Freudian aspect of Abstract Expressionism; the authoritarian / autocratic image of Rothko and Newman; the sexually biased role of the female within the Jewish
Faith; the impossibility of separating content and aesthetic value; her female influence upon Pollock; her role in exposing Pollock to Matisse; her ability to network for Pollock (Herbert and Mercedes Matter, Sandy Calder, James Johnson, Sweeney, Hofmann); her ambiguity as to whether she has had the
tradition female artist experience due to her association with Pollock.