See the feature above.
|For a Lenten practice, try forgiveness
By Bob Libby
|Massachusetts deacon’s ordination brings #MeToo moment of healing
By Tracy Sukraw
|‘Yes in God’s Backyard’ to use church land for affordable housing
By Alejandra Molina
|With interfaith exhibit, Boston’s Abrahamic faith groups revisit their shared roots
By Aysha Khan
|A reflection on racism and forgiveness
By Bob Libby
|When a judge gives a Bible: Converting or consoling?
By Pamela A. Lewis
|Young Episcopalians bring back stories from US-Mexico border
By Bridget K. Wood, Diocese of Massachusetts
With the migrant crisis on the U.S.-Mexico border in the news, a group of seven high school-aged Episcopalians, along with three adults, set off in August for a week in Nogales, Ariz., to hear the stories of people who are experiencing it firsthand.
|Native American ministries renew connections in the west
By Craig Wirth
A new generation of western Native American Episcopalians joined their elders and priests at the first “Mountains and Deserts” conference in a decade, held June 18-20 at the Episcopal Church Center of Utah in Salt Lake City. The Episcopal Church Missioner for Indigenous Ministries, the Rev. Bradley Hauff said the gathering represented a new network of support for isolated reservation and rural congregations.
|‘Skin’ filmmaker shares story of real-life racism and the road to redemption
By Emily McFarlan Miller
Filled with sex, violence and profanity, it may not be the feel-good movie of the year.
|The Hudson River School romantics and the theology of landscape
By Dennis Raverty
Nineteenth-century painters are said to have secularized Western art but it is perhaps more sacralization than secularization in the case of landscape. A minor, formerly profane genre, landscape became elevated and sacralized by the Romantics, taking on lofty themes with a high moral tone and a transcendent gravitas formerly reserved for religious painting alone. In the United States, these Romantic landscapists are often referred to as the “Hudson River School,” a Romantic tendency evident over the course of two or three generations of artists. After falling out of favor for a while, appreciation for Hudson River School painting increased dramatically during the postwar period, when the alienated, Romantic abstractions of artists like Pollock and DeKooning created a new appetite for the sublime.