Contemporary artists are engaging more deeply than ever with religious imagery, themes, practices, and audiences. With a bracing, jargon-free style, Aaron Rosen—a leading scholar, art critic, and curator—takes readers into studios, galleries, and worship spaces as he paints a compelling picture of art and religion today. Focusing on individual artists, from eminent names to emerging stars, Rosen’s essays and interviews tackle key questions, from how art might sustain communities to how it might offer new approaches to conflict resolution. Drawing on years spent developing relationships with artists around the globe—from Algeria to India to the United States—Rosen gets artists to talk, often for the first time, about how religion impacts their practice. Whether inspiring or unsettling, these brushes with faith challenge and invigorate the artists in question, and those who ponder the results. Replete with more than seventy color images of works ranging from video art to outdoor installations, this volume is indispensable reading for those looking to see contemporary art in a new light.

Award-winning contributors are featured in this anthology of original storiesevoking dilemmas of faith and identity.

Born against all odds, near death, premature at two pounds thirteen ounces, and breached feet first, I was determined to stand on my ten toes through the struggle. I was early and missed the call to go that was God. Sometimes, you have to dance with the devil to get out of hell, and these are my brushes with death.

Contemporary artists are engaging more deeply than ever with religious imagery, themes, practices, and audiences. With a bracing, jargon-free style, Aaron Rosen--a leading scholar, art critic, and curator--takes readers into studios, galleries, and worship spaces as he paints a compelling picture of art and religion today. Focusing on individual artists, from eminent names to emerging stars, Rosen's essays and interviews tackle key questions, from how art might sustain communities to how it might offer new approaches to conflict resolution. Drawing on years spent developing relationships with artists around the globe--from Algeria to India to the United States--Rosen gets artists to talk, often for the first time, about how religion impacts their practice. Whether inspiring or unsettling, these brushes with faith challenge and invigorate the artists in question, and those who ponder the results. Replete with more than seventy color images of works ranging from video art to outdoor installations, this volume is indispensable reading for those looking to see contemporary art in a new light.

Exploring themes of work and labor in everyday life, Richard J. Callahan, Jr., offers a history of how coal miners and their families lived their religion in eastern Kentucky's coal fields during the early 20th century. Callahan follows coal miners and their families from subsistence farming to industrial coal mining as they draw upon religious idioms to negotiate changing patterns of life and work. He traces innovation and continuity in religious expression that emerged from the specific experiences of coal mining, including the spaces and social structures of coal towns, the working bodies of miners, the anxieties of their families, and the struggle toward organized labor. Building on oral histories, folklore, folksongs, and vernacular forms of spirituality, this rich and engaging narrative recovers a social history of ordinary working people through religion.

The most celebrated story collection from “one of the true American masters” (The New York Review of Books)—a haunting meditation on love, loss, and companionship, and finding one’s way through the dark that includes the iconic and much-referenced title story featured in the Academy Award-winning film Birdman. "Raymond Carver's America is ... clouded by pain and the loss of dreams, but it is not as fragile as it looks. It is a place of survivors and a place of stories.... [Carver] has done what many of the most gifted writers fail to do: He has invented a country of his own, like no other except that very world, as Wordsworth said, which is the world to all of us." —The New York Times Book Review