Minter explores what happens when good desires become false gods, robbing people of an intimate relationship with the heavenly Father. (Christian)

The first in the new Power Polemics series, Thomas Crow's No Idols: The Missing Theology of Art turns away from contemporary cultural theories to face a pervading blindspot in today's art-historical inquiry: religion. Crow pursues a perhaps unpopular notion of Christianity's continued presence in modern abstract art and in the process makes a case for art's own terrain of theology: one that eschews idolatry by means of abstraction. Tracking the original anti-idolatry controversy of the Jansenists, anchored in a humble still life by Chardin, No Idols sets the scene for the development of an art of reflection rather than representation, and divinity without doctrine. Crow's reinstatement of the metaphysical is made through the work of New Zealand artist Colin McCahon and American artists Mark Rothko, Robert Smithson, James Turrell, and Sister Mary Corita Kent. While a tightly selected group of artists, in their collective statute the author explores the proposal that spiritual art, as opposed to "a simulacrum of one," is conceivable for our own time.

In 1996, as I looked through My rose-colored glasses at an image that appeared to reflect me I remember like it was yesterday, God spoke directly to me in a soft, gentle, audible and crystal clear voice and said It is not my will! NO MORE IDOLS! Written by Crystal Y. Holt LITTLE CHILDREN, KEEP YOURSELVES FROM IDOLS. AMEN. (1 JOHN 5:21). This word was quickened to my spirit in 1996, yet at that time I did not fully understand it. One might ask what exactly is an IDOL and how do you keep yourself from an IDOL? An IDOL is anything and everything you put before God! The rest is my story to tell

Feeding off the frenzy of fleeting fame and image overload, Hostetler takes anecessary look at the false gods in modern society. This timely book can helpreaders realize and overcome their own idolatries.

This study questions why the relationship between the worship of other gods and the worship of idols within the Old Testament is difficult to define, acknowledging how various traditions have seen these two issues as synonymous and others have viewed them as separate commandments. Judge argues that there are four factors at play in this diversity. He introduces the first three through an examination of the relationship between the prohibitions listed in the biblical text, and the fourth through a study of the biblical depiction of the war against idols before and after the fall of the Northern Kingdom. Judge argues that texts depicting the era before the fall provide a context in which there are strong grounds to distinguishing the worship of the “wrong gods” and the worship of the right God in the wrong way. However, texts depicting the era after the fall provide a context in which the issues appear to have been fused.

In 1547, the young King Edward VI issued a series of religious injunctions that were intended to reform the Churches in England. Religious imagery was a tangible and permanent aspect of the landscape, both inside and outside churches. For many people, it was one of the first aspects of the Church to be reformed, and the degree to which it was reformed often was indicative of an individual's or community's theological leanings. Behind this destruction lay a longstanding debate over the nature, purpose, and appropriate uses of images, particularly in relation to worship and devotion. The Reformation lines between icon and idol, however, are much more difficult to identify than any single debate, event, or royal injunction would suggest. FromIcons to Idols tracks the image debate from the perspectives of both Protestants and Catholics across the period of religious change in England from 1525 to 1625. For scholars of the English Reformation, iconoclasm has played a major role in the historiographical disputes over the nature, length, and efficacy of Protestant reform. The fresh perspective of David J. Davis incorporates geography historical use and abuse, popular appeal, size, dimensions and what was represented.