FR. JUSTIN BELITZ TESTIMONIALS

Several articles from personal blogs have appeared online regarding Fr. Justin Belitz, O.F.M. These articles ultimately represent social media being used and abused as yet another demonstration of someone judging from the outside looking in, seeing only slivers, hearing only soundbytes, coming to blatantly erroneous conclusions, and portraying Fr. Belitz as a caricature. It is nothing less than crass stereotyping and echoes the words to the old song: “I don’t like what I don’t understand and it scares me half to death.”

Fr_Justin_OFM_0129

I am an Indianapolis native and former member of Friar Justin’s Hermitage (Former only because I moved out of state).  I met Fr. Justin through  the late Fr. Hilary Ottensmeyer, a Benedictine priest, who happened to be the former director of St. Meinrad’s. I met Fr. Hilary at an art gallery showing  (the 431 galley) in the late 1980s.  At that time, I was a self-proclaimed atheist.

Having grown up in an abusive, evangelical church setting, I had mantled a lot of anger. Hilary and I became good friends, having countless discussions on art history, film, philosophy, and music. He even counseled me through a divorce. Slowly and astutely,  I became aware that there was indeed an artistic, intellectual side to the religious life; one that did not require me to dumb down.

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RELIGULOUS (2008)

RELIGULOUS poster

When Bill Maher’s Religulous (2008) premiered, it predictably opened to mixed reviews. Narrated by Maher and directed by Larry Charles, Religulous is a scathing criticism on what the filmmakers see as inherent ignorance and immorality within religion.

ISLAMIC MILITANTS

Critic Brian Orndoff wrote:

Most of the ammo is reserved for Christianity. Instead of confrontations that shatter myths and raise consciousness, Religulous goes for cheap laughs, manipulating footage to make the participants resemble complete boobs. Maher has the sense to pump the brakes around Islam, treading carefully. Salient points are made about this furiously hot-potato faith, but Maher is noticeably outgunned, challenging the history of Islamic bloodshed from behind the comfort of news clips and sheepish concessions. The way the Middle East rumbles these days, how could anyone blame him?

SALEM WITCH TRIALS

Indeed, the first third of Religulous concentrates solely on Christianity. However, Maher, who wrote the film, was raised as an American Catholic, though with a Jewish heritage. Often, writing is most effective when it focuses on what one knows, and Maher seems to know Christianity. Yet, what he primarily depicts is a particular variety of fundamentalist Christianity. While polls vary in regards to the percentages of American “liturgical” Christians in contrast to “fundamentalist” Christians, few would argue that the latter comprise the bulk of stereotypes of the faith. Continue reading

The Annunciation, Stations of the Cross, Pieta.

The Annunciation, Stations of the Cross, Pieta.

In The Mary Myth, Andrew Greely writes, ” The Marian symbol is surely one of the most powerful symbols in the Western Tradition. Virtually every major painter from the fifth to the sixteenth century painted at least one Madonna. The Marian paintings and poetry tell us far more about the power and meaning of the Madonna than theology books could possibly portray.  Art is much better at conveying limit-experience than scholarly theology.” [1]

Annunciation

Last year, at the beginning of seminary, I began a series of works on canvas, entitled Stations to parallel my experience. The first three works were completed last year and this year I have painted the fourth through the sixth.

Stations I. Christ is condemned to death.

The point of entryism is the primordial Sophia.  The apophatic Stations rejects the crude violence inherent in subscription to the tyranny of the hyper- realism often associated with the passion narrative.  From Genesis, Sophia’s stream of hallowed pathos manifests in the intricate Magnificat; the second testament’s renowned fiat of relentless communication. The illiterate adolescent Miriam issues her sublime revolt, exalting the destitute, fragmenting the elite. From the womb of her proclamation, the obscure is cultivated. Miriam issues forth the faint beacon; Christus. In the pondering of Miriam’s heart the character of Christus is wistfully seeded. Miriam and Christus, unified in erect clarity, are Sophia’s intimate motif.  The translucent  passion of Christus, endured through the Mother of sorrows, reaps an unequivocal music.

Stations II. Christ is given his cross.

Historical-critical analysis, while having its place, is not a concern in these works. Rather, the meditative Stations reflects John Henry Newman’s “Fact of the Imagination.”  Stations,  lamenting the bankruptcy of theological idiosyncrasy, is the expression of an illegible signpost.  These works, admittedly, subscribe to a type of Zen Catholicism, although there is also resistance in labeling it such, just as an idiosyncratic theology resists attachment to a dogmatic school. In this, the works are post-modern in both theological and artistic expression. For me, the age of theological and artistic schools has passed and is rendered impotent. Subscribing to a particular movement, within the arts or within theology, is as linear, is as institutional as stifling attachment towards a blueprint for doctrinal, patriarchal religion. Sacramental pathos sows freedom in the secular crisis of symbols. Symbolic idea is equated with the incarnation. The artistic theology in these works seeks to simultaneously beautify and inspire discomfort. By jettisoning traditional imagery, the risk of subscribing to a perceived totalitarian atheism runs high. However, the discarding of  solidified imagery and adhering instead to the internal, emotionally organic content inherent in the Stations, breaths an ecumenical expression. Catholicism (iconography), Zen Buddhism (indefinable), Judaism (Genesis heritage), and Protestantism (subduing of concrete imagery) are influentially present within. Prominent in the creative process is Jorunn Okland’s[2] observation that “Symbolic Continuity is fundamental to our culture.” For that reason, both The Annunciation and Pieta serve as “bookends” to the unfolding, journeyed Stations.

Stations III. Christ falls for the first time.

In The Annunciation I painted Mary as a fleshy, ethnic, girlish, peasant youth. In contrast to her fleshiness, is the diaphanous, ethereal milieu in which she is encompassed. This milieu is conveyed with monochromatic, Prussian blues, Pthalo blues, Viridian Hues and Dioxadine Purple. Flowers adorn her, weaving in and out of the fabric of her dress. Behind her is the questioning angel. Fiercely independent, Mary is on the verge of her Yes, her “Let it be done”,  without consulting her family or her betrothed.

STATIONS IV. Christ meets his Mother.

The Pieta is thirty years later in the narrative. Often, the Madonna is painted, at that scene, still young, still unblemished by age. I chose, again, to depict her ethnicity, combined with age. She looks very different here, weathered. She is on the verge of collapse, but, she surrenders herself, her naiveté, to her dead son’s ambitions. Her silence protects her fragile dignity. John the apostle, and Joseph of Arimathea lift the Corpus Christi to Her; the lowly, the woman of whom it was derogatively asked, “Isn’t this the son of Mary?” She, alone, is caught up in a state of contemplation. Rather than the traditional depiction of the Mother physically embracing the son, this Pieta depicts the two worshipers of Christ in the immensely struggled act of lifting the dead son up to the Mother. John and Joseph are worshipers of the Son and so the Son is elevated. However, the Mother is elevated even higher because She has no worshipers. Unlike Her Son, She is completely human and through her full humanity She is thusly edified for us.  A cadmium red rose adorns the lower left corner, symbolic of the rosary. An emotional storm of Dioxadine purple flows through the scene.

Stations V. Simone of Cyrene carries the cross.

The language of the icon is an ambiguous presence in Stations. The emotional symbology from “Mary’s Stations of the Cross” was latently in thinking, colors, brush work and organic form from those two “bookends. The works have an intentional Debussian feel, no doubt enhanced by the fact that I listened to much of  Debussy’s later music, along with the music of  the Second Viennese School, Morton Feldman and Luigi Nono, during the painting process.

STATIONS VI. Veronica wipes the face of Christ.

Andrew Greeley writes, “She guides us to see ultimate reality not only as creating, organizing, directing, planning, bringing to completion but also tenderly caring, seductively attracting, passionately inspiring and gently healing.” [3]

Greeley sees, in this devotion, an imaginative attitude that is not confined to the limits of dogma or that faction of “creepy” Mariology. “Mary has been a prisoner to creeps far too often.” he writes. Greeley relates an amusing, supposedly true story in which Heidegger was “caught” genuflecting at a festival of Our Lady. Heidegger was incredulously asked if he wasn’t an atheist, to which the philosopher replied, “a rationalist like you wouldn’t understand.”

A Marian spirituality surfaced amazingly fast in early Christendom. “The early Christians were far more casual about the similarities between Mary and the pagan goddesses.” However, Greely believes he, like the early Christian, is far more interested in the differences between Mary and those pagan deities, rather than the similarities.

Leonardo Boff  is considerably more weary in regards to using mythological Marian terminology and he focuses primarily on finding valid edification through historicity. In The Maternal Face of God Boff writes, “There is a danger of reducing Mariology to modifications of archaic mythologies. Historically, God did not choose a princess. God was not taken by the beauty of Athena, but the plain visage of a destitute woman. The Holy Spirit chose a fragile woman of poverty  to be the living temple of God.  Mary did not give birth in a royal palace, but was surrounded by beasts. The Mariology of exaltation must know what it is exalting: concrete, humble realities. It must extract the divine transparency that hides in the lowly, it must uncover the depth that is concealed in the humble. God the eternal mother is totally historicized in Mary ” [4]

The tragically short-lived John Paul I wrote, “God is Father, but above that, God is mother.” Greely concurs with an explanation of his view for the symbol, ” I am not discussing Mary as a person, but I am discussing God who is revealed to us through Mary.”

Boff sums up the hidden historicity of Mary, “The historical figure of Mary is very much hidden, much like a hidden pearl in an out-of-the-way place.” [5]But, this does allow much in the way for an imaginative projection of our personalized imagery into creative expression, which is why, for myself, the Marian image is the boundlessly expansive conduit for an idiosyncratic theology of artistry.

PIETA


[1] page 120

[2]  Blessed One: Protestant Perspectives on Mary.

[3] The Mary Myth. Page 20.

[4] page 125-126.

[5] page 108.