Is modern art a theological task of 'desublimation'?
In short: In the search for the divine, we often mistake the chaotic for the holy. Professor Ben Quash explores how modern art navigates the tension between the 'sublime'—a chaotic, overwhelming excess—and the 'beautiful,' arguing that true theological expression requires moving beyond idealized forms to embrace raw, flawed reality.
Ben Quash examines the role of 'the sublime,' as defined by Immanuel Kant, within the context of contemporary Christian art. He suggests that while beauty often acts as a concealment of metaphysical discourse, the sublime represents a more profound, chaotic nature. In this framework, sublimity is characterized by chaotic excess and indeterminacy, reflecting a divine interplay of chance rather than a structured, aesthetic perfection. This inquiry was presented as part of a Gresham College conference titled 'Thinking Theologically about Modern Art'. The lecture explores how the sublime is often presented as a divine game of chance. It seeks to understand how these aesthetics function within the specific sphere of contemporary Christian art.
The discussion draws a sharp distinction between 'place' and 'space.' Drawing on the work of Walter Brueggemann, Quash notes that place is space imbued with historical meaning, memory, and identity—the sites of vows, promises, and divine surprises. This contrasts with the theological tension found in the Old Testament between the specific holiness of a location, like the Temple, and the transcendent holiness of Christ, which makes the specific holiness of place less significant. The text highlights that gardens, mountains, and deserts are essential to the narrative of God and his people. It also notes that the building of the Temple was associated with a loss of divine dynamism. These locations serve as sites where people are sent or where they hope to arrive.
A central theological challenge identified is the 'desublimation' of art. The text argues that metaphysics often fails to recognize peaceful existence within form because it views infinity as either chaos or negation. By contrasting this with the Incarnation—where God engaged with real, flawed human conditions—Quash suggests that modern art should reflect God's love for humanity in its rawest form. This moves the focus away from idealistic dogmas toward an aesthetic that acknowledges the real, historical context of human experience. The analysis suggests that the incarnation of Jesus Christ serves as a primary model for embodying real conditions in art. This approach challenges traditional idealist dogmas by emphasizing the significance of historical context. Essentially, this perspective promotes seeing contemporary art as a mirror of God's affection expressed within earthly experiences.
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Sources
- Summary by Intellect · source: The Desublimation Of Modern Art: A Theological Task - Professor Ben Quash
- Also: Part One: The 'Desublimation' of Modern Art - A Theological Task?
- Also: Ben Quash, 'The Desublimation of Modern Art, a Theological Task?' Gresham College
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