Artistic

Max Evans-Browning, a five-year-old from Wales, captured hearts worldwide by creating a touching tribute to Sir David Attenborough’s 99th birthday. Max spent four days drawing 99 animals — one for each year of the renowned naturalist’s life — demonstrating his admiration and artistic dedication.

Max’s project spanned eight A3 sheets, and his parents proudly shared, “He’s a huge fan of Sir David and wanted to do something special to celebrate his birthday.” The child’s detailed and colorful drawings include a wide variety of animals, from familiar pets to exotic wildlife, showcasing his keen interest in nature at a young age.

Attenborough himself has been a source of inspiration for many generations, and Max’s artistic gift is a heartfelt homage to the man whose documentaries have shaped public understanding of the natural world. Max’s mother said, “It’s amazing to see such creativity and enthusiasm in a child so young.”

The tribute also highlights the power of youthful curiosity and creativity in fostering a connection with nature and science. Max’s drawings not only celebrate a milestone birthday but also encourage others to appreciate the diversity of life on Earth.

Local media praised Max’s efforts as “a wonderful example of how children can be inspired by science and nature.” The story has resonated globally, reminding people of all ages to cherish the natural world and those who dedicate their lives to protecting it.

Possible Preaching Angle:

Like Max’s art honors Attenborough and creation, our worship honors God through our gifts and love for what He made.

For over two decades, a vibrant mural featuring "The Wizard of Oz" characters adorned Stead Park. Painted by local graffiti artists in 2001, it became a beloved landmark. However, last spring, a new group of artists replaced it with a whimsical scene of toy buildings and a toddler, symbolizing the neighborhood's evolving culture.

The transformation sparked controversy when Roger Gastman, one of the original muralists, sued Cory Stowers, the leader of the new team. Gastman claimed the new mural destroyed his original work, while Stowers argued that the old mural had deteriorated and needed repair. The dispute has reignited debates about ownership and creative control in street art, pitting preservation against evolution in the ever-changing landscape of graffiti.

The case is unique as it involves artists suing other artists over the alteration of building art, rather than building owners. Stowers, a prominent figure in D.C.'s graffiti scene, had secured funding and permission from the property owner to repaint the wall. However, Gastman, now well-known in the graffiti world, argues he wasn't consulted before the work was altered.

This conflict has raised concerns within the graffiti community about the future of murals and how artists navigate issues of ownership. It also highlights the tension between preserving artistic legacy and embracing the fluid nature of street art. As community member Renée Vara noted, "It's a shame that a beautiful collaboration has kind of come to this," encapsulating the mixed emotions surrounding the dispute.

Possible Preaching Angles:

1) Transformation; Renewal - The replacement of the old mural with a new one echoes biblical themes of transformation or the idea of a new creation; 2) Conflict between generations: The dispute between the original artist and the new group mirrors biblical stories of generational conflict, like Jacob and Esau or Joseph and his brothers; 3) Stewardship and responsibility - The debate over who has the right to alter the mural reflects biblical themes of stewardship and responsibility for God’s creation. 4) Legacy - Gastman's desire to preserve his artistic legacy echoes biblical themes of leaving a lasting impact and honoring one's legacy.

A piece of conceptual art titled "Comedian," created by Italian artist Maurizio Cattelan, was recently auctioned for $6.2 million at Sotheby's of New York. The artwork consists of a banana duct-taped to a wall.

This unusual piece caused a sensation when it premiered at Art Basel Miami Beach in 2019, sparking debate over whether it was a clever commentary on the art world or simply a joke. The attention was so intense that the piece had to be removed from display. Despite its simplicity, three editions of "Comedian" sold for between $120,000 and $150,000.

This time around, the winning bid at Sotheby's came from Justin Sun, founder of the cryptocurrency platform TRON. With auction house fees included, Sun paid over 40 times the original selling price. It's important to note, however, that Sun didn't purchase the banana itself. Instead, he bought a certificate of authenticity that grants him the right to duct-tape a banana to a wall and call it "Comedian."

Bidding for the piece began at $800,000 and quickly escalated, reaching millions within minutes. Auctioneer Oliver Barker, trying to maintain a lighthearted tone, quipped, "Don’t let it slip away,” and “Don’t miss this opportunity. These are words I’ve never thought I’d say: Five million dollars for a banana.”

Sun, commenting on his purchase, stated that "Comedian" represents “a cultural phenomenon that bridges the worlds of art, memes, and the cryptocurrency community." He also revealed his plans for the artwork, stating, "Additionally, in the coming days, I will personally eat the banana as part of this unique artistic experience, honoring its place in both art history and popular culture.”

Possible Preaching Angle:

This story can serve as a modern parable, challenging us to reflect on our values, the use of resources, and the nature of true worth in light of biblical teachings. It reminds us of the empty value the world places on temporary things.

Brooklyn residents were in mourning in late October after a leaky fire hydrant was paved over by city workers. Over the previous summer, leaks from the hydrant had filled a small enclosure around the hydrant with water. Residents responded by adding goldfish and other bits of aquatic décor, painting goldfish onto a nearby light pole, and creating a seating area to view the fish.

Neighbors called it The Bed-Stuy Aquarium, referencing the name of the neighborhood known as Bedford-Stuyvesant. The pond became something of a tourist attraction after it became searchable as a location on Google Maps, and people from as far away as California flocked to it to take photos in front of the trending destination.

The unofficial aquarium was destined to be short-lived, because the fire department needed to make sure the hydrant remained in working order and didn’t freeze over the winter. Area resident Sofia Talavera said, “People actually took their time and their money to make it beautiful. This was literally the community coming together.” Talavera particularly enjoyed the aquarium as a late-night hangout spot. After the New York Liberty won the WNBA Finals, she posted a grainy image to Instagram with the caption “last night was so awesome I had to go to the aquarium to celebrate.”

The Department of Environmental Protection said in a statement that it was “looking forward to working with community members to find an appropriate alternative location for this impromptu gem,” adding that the goldfish were rescued and available for a new home.

Possible Preaching Angle:

Community Impact; Fellowship - While community safety is an important value to uphold, God’s people can promote mutual flourishing by adding value to the common good and creating opportunities for celebration for people. 2) Beauty; Creativity; Encouragement – It’s important to look for opportunities to add beauty and a moment for contemplation into people’s busy lives.

Stephen Steele writes about sculptor Gillian Genser who was experiencing headaches, vomiting, hearing loss, confusion, and suicidal thoughts. For years, doctors were baffled by what was afflicting her. They asked if she was working with anything toxic, and she assured them she wasn’t. She told them that she only worked with natural materials. They prescribed antipsychotics and antidepressants, but nothing seemed to help.

Finally, she saw a specialist who tested her blood for heavy metals and found high levels of arsenic and lead in her system. She was shocked, but still confused—how had she ingested those dangerous compounds? Finally, she talked to one doctor who was horrified to hear that she had been grinding up mussel shells for the past fifteen years to use in her sculpture. She had no idea that mussels can accumulate toxins over years of feeding in polluted waters.

The most fascinating thing about the story is who the sculpture was meant to be. It was Adam, the first man. Genser recognized the irony herself. She said: “It’s very interesting and ironic that Adam, as the first man, was so toxic. He poisoned me. Doesn’t that make sense?”

Steele comments,

And it makes perfect sense, because that is what Adam, the first man, did to all of us. He poisoned us. He rebelled against God – and we are contaminated by that rebellion. The message of the Bible, however, is that a second Adam – Jesus Christ – has come to cleanse us from this in-built corruption, as well as the other poisonous thoughts, words, and deeds we add to it during our lives. It doesn’t mean those who trust him will be perfect. Like Gesner, we will suffer the effects of Adam’s poison for the rest of our lives – but it will no longer define us forever.

Many have wondered what place AI or robots will have in the future. They will make life easier, but could robots replace the world’s greatest artists?

Filippo Tincolini and Giacomo Massari formed Litix, a company that creates sculptures on commission for artists, architects, and designers. They sell their technology to clients around the world, including three sizes of Litix’s signature robot and proprietary software to program the robot for sculpting.

Massari said, “What used to take months or even years can now be done in days. Machines can run round-the-clock. They don’t get sick or sleep or go on vacation.” One of his favorite stories is about Psyche Revived by Cupid’s Kiss, Antonio Canova’s 1793 neoclassical masterpiece that sits in the Louvre. “It took Canova five years,” Massari said. To make a replica it “took our machine … less than 12 days.”

The robot does not put on the finishing touch. “… the final details will be executed by human sculptors—even Litix’s techno-evangelist owners don’t pretend that its machines can match the finest subtleties of human artisanship.”

“It took the robot four days to complete its work on Flowered Slave. Artisans then spent another 20 days finishing the work by hand—what Tincolini calls ‘“giving life to the sculpture.”’

By contrast, Enzo Pasquini has worked only with hand tools since his days as an apprentice more than 70 years ago. Around town he’s known as a master who can carve the most elaborate details into stone. “I have to do it the old way. But you have to go with the times. There are fewer and fewer young people who want to do the hard physical labor. But machines won’t change the sensitivity of the work. You will always need the sculptor for that.”’

Possible Preaching Angle:

In the same way, no matter how many intelligent computer programs we use to solve problems, or even how many skilled humans are involved, people will always need the Master Sculpture to finish what he started in our lives. “And I am sure of this, that he who began a good work in you will bring it to completion at the day of Jesus Christ” (Phil. 1:6).

In a surprising turn of events, a real photograph entered into an AI-generated images category won a jury award but was later disqualified. Photographer Miles Astray submitted a photo of a headless flamingo on a beach to the 1839 Awards competition, judged by esteemed members from various prestigious institutions. His image, titled FLAMINGONE, won the bronze in the AI category and the People’s Choice Award. However, Astray revealed that the photo was real, leading to its disqualification.

Explaining his decision Astray, cited previous contest results. “After seeing recent instances of A.I. generated imagery outshining actual photos in competitions, it occurred to me that I could twist this story inside down and upside out the way only a human could and would, by submitting a real photo into an A.I. competition.”

Lily Fierman, director of Creative Resource Collective, appreciated Astray's message but upheld the disqualification: “Our contest categories are specifically defined to ensure fairness and clarity for all participants. Each category has distinct criteria that entrants’ images must meet.” Despite the disqualification, she acknowledged the importance of Astray’s statement and announced plans to collaborate with him on an editorial.

Astray supported the decision to disqualify his entry, praising Fierman and calling it “completely justified.” “Her words and take on the matter made my day more than any of the press articles that were published since.” In general, he seems to have no regrets about the AI stunt, given the overall positive response.

Astray said, “Winning over both the jury and the public with this picture, was not just a win for me but for many creatives out there.”

Possible Preaching Angle:

Human creativity is a gift from a creative God. When we use our creativity, we're showing appreciation for this amazing gift. God gives a unique gift to each person that can’t be duplicated or manufactured artificially. Whether a student, a pastor, an artist, or business person, we can use AI as a helpful tool, but we should never short-circuit the creative process by relying completely on it.

Success is the unrelenting prize of our culture. We will sacrifice whatever we must to avoid feeling the pain of failure. And when we do fail, our society tells us to move on as quickly as possible. But what if there's something to be gleaned from times when we do not succeed.

In the film Bob Ross: Happy Accidents, Betrayal, and Greed, Joshua Rofé describes the unseen parts of Ross' fame. The painter and television personality mesmerized audiences in half hour blocks. Mountains, bushes, and rivers emerge seamlessly before our very eyes. His ideas passed effortlessly from pallet, to brush, to canvas.

But, of course, this fluidity did not imply flawlessness. Often, Ross would extend a stroke too far or lay down a color that did not match with what he had imagined. When this happened, Ross simply labeled the mistake a "happy accident" and adjusted his plan to incorporate the mistake into a masterpiece.

Near the end of the film, Steve Ross gave some insight on this topic:

It's hard to tell people their faults. It’s even harder to admit that you have made a “happy accident.” A lot of times, I've wondered if it's not your mistakes that teach you a lot more than your successes. After success, you just move on to the next thing. But when you make a mistake, or have a “happy accident,” as Bob called it, suddenly you learn all kinds of new ways to correct it. And through that learning process you really start developing in new ways.

Sally-Lloyd Jones, the author of the popular Jesus Storybook Bible for Children, tells the following story about visiting the Museum of Modern Art in New York City:

A few years ago, I overheard someone commenting on a piece of [modern] non-representational art. I think it was a Rothko [a 20th century American abstract painter]. "My child could to that!" someone said. I take that as a compliment.

“My child could do that.” But really, isn't that the point? Artists like Rothko were specifically drawn to children's art. Picasso once said, “It took me four years to paint like Raphael, but a lifetime to paint like a child.”

The power of a child's art is defined by what they can't do--by their lack. They know they can't do it. And as a result, their art is not about showing off skill or expertise. It's coming from somewhere else. It's all heart ... A child is physically not able to master [pencil or paints]. They struggle to depict things--and every line has heart ... The power of the art of a child comes not from their ability or their strength. It comes from their weakness, their not being able, their vulnerability.