Page 2 – Cecilia González-Andrieu – Bridge to Wonder
Unfortunately, when the author gets away from talking about concrete moments, movements, and artworks, her precise argument is often vague and hard to follow. Although her language is rarely technical, passages where she writes about art per se can be exceedingly abstract and tentative. The main metaphor of the book – art as a bridge – is used frequently, but seemingly with a different meaning every time it comes up. The bridge sometimes seems to refer to a bridge between social classes, or between an unexamined life and a life of asombramiento or wonder; sometimes the metaphor is used to describe her method of weaving various disciplines together, like the individual cables that make up the supports of a suspension bridge; González-Andrieu even considers the Golden Gate bridge itself as a work of art with a function. A good metaphor should be able to sustain multiple interpretations, but the bridge metaphor is beyond overworked in this book – to the point that it becomes an impediment to understanding the author’s point.
While the argument as a whole may not be entirely coherent, the parts of it are often quite brilliant on their own. As another reviewer put it, González-Andrieu offers a “network of ways” to connect art with Christian living. Similarly, she offers a variety of ways to think about art and theology. When Dr. González-Andrieu writes about art as a form of prophecy, readers may find some interesting resonances with Walter Brueggemann’s classic The Prophetic Imagination. Where Brueggemann and González-Andrieu both write about the “making of symbols,” Dr. González-Andrieu is able to speak more explicitly about the relationship between that action and sacred art’s ability to work in continuity with church tradition in this act. It would be fascinating to see González-Andrieu investigate her work further in relation to Brueggemann, since there are many overlapping areas of interest between their projects.
In one of the most interesting and relevant sections of the book, Dr. González-Andrieu presents a case study from the church of Notre-Dame de Toute Grâce du Plateau d’Assy in the French Alps. Starting in the early 1940’s, Father Pierre Couturier commissioned a number of the biggest names in modern art to create sacred art for the church at Assy. The project was known around the world via multiple stories in Time and various art periodicals, and its goal was to prove that there truly was a place for the “best” of the art world in the church. Instead of the art serving to encourage and invigorate the faith of the congregants, though, González-Andrieu writes that the project was a disastrous failure. According to the author, the problem is that the commissioned artists had no theological understanding of their work. Most of the artists were not religious, and many of them were atheists; Fr. Courturier stated that it was “safer to turn to geniuses without faith than to believers without talent.” Most anyone who has experienced the world of “Christian” art will understand (if not agree with) the priest’s viewpoint, but where these artists’ conception of art was as an end in itself, González-Andrieu contends that sacred art properly has a goal of orienting its viewer toward God in some way.
In a highly-publicized event, the bishop over the church at Assy had its faceless modernist crucifix removed after complaints from the parishioners that it looked “evil.” González-Andrieu concludes that the Christ d’Assy – the crucifix made by Germaine Richier – is in fact a perfect reflection of its creator’s atheistic “theology,” which many viewers of the artwork perceived. Even the Christ d’Assy, though, has a purpose; although it may not be fit for a sanctuary, González-Andrieu notes that it could be a way for Christians to begin to embrace the atheist Other. By allowing Germaine Richier to express her conception of Christ, the work begins to build a sort of bridge where Christians and atheists might at least reach a place of increased mutual understanding.
Ultimately, Dr. González-Andrieu presents a cluster of arguments for the utility of art in Christian life. She shows deep insight into the artworks she considers, and her ability to work with a wide variety of sources to glean theological meanings and purposes for art. While she does not achieve the clarity required to create anything like a method for theologians and artists to work together, Bridge to Wonder ably demonstrates González-Andrieu’s potential to build such bridges in the future.
C. Christopher Smith is the founding editor of The Englewood Review of Books. He is also author of a number of books, including most recently How the Body of Christ Talks: Recovering the Practice of Conversation in the Church (Brazos Press, 2019). Connect with him online at: C-Christopher-Smith.com
 Reading for the Common Good From ERB Editor Christopher Smith "This book will inspire, motivate and challenge anyone who cares a whit about the written word, the world of ideas, the shape of our communities and the life of the church." -Karen Swallow Prior Enter your email below to sign up for our weekly newsletter & download your FREE copy of this ebook! |
Understanding Christian Nationalism [A Reading Guide] |
 Most Anticipated Books of the Fall for Christian Readers!
|
 Hilarious One-Star Customer Reviews of Bibles |
Nice review. It really makes me long to read this book. An interesting thought that came to mind, being a visual artist and having some trouble cohesively explaining the complete thoughts that drive my work but speaking of its application into different arenas and sometimes to specifics seems effortless, it might actually be the role of the church universal to place the artist and theologian in community to refine the purpose of art and create the space for them to work together. It might be too much to ask of one author, one book, or even for one community.
To build a bridge to understanding things about God, his glory, and his intention for the redemption of all things might be a larger and more complex task than any one person, community, generation, etc. could ever undertake. However, we must all place ourselves into the work with mind to our particular gifts.
Thanks for reading the review. I’m pretty sure the author of Bridge to Wonder would agree with your speculation about the role of church communities. She also writes in the book a bit about works of art as irreducible expressions — a good piece of art (according to her) will express what it does in a way that can’t be better expressed in a another form. If that’s true, it might simply be the nature of art that it doesn’t lend itself to explanation so much as application.
http://goo.gl/PNQEr