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Editorial Reviews

Amid the pluralism and secularism of Western culture, Christian apologetics has experienced a renewal of interest. Apologetics at the Cross Video Lectures, a companion to the book Apologetics at the Cross by Joshua D. Chatraw and Mark D. Allen, provide an introduction to the field, acquainting students and lay learners with the rich history, biblical foundation, and ongoing relevance of apologetics.

Unique in its approach, Apologetics at the Cross Video Lectures presents the biblical and historical foundations for apologetics, explores various contemporary methods for approaching apologetics, and gives practical guidance in "how to" lessons that feature many real-life illustrations. With their respectful approach, which pays special attention to the attitude and posture of the apologist, Chatraw and Allen equip Christians to engage skeptics with the heart as well as the mind.

Conversational and accessible, Apologetics at the Cross Video Lectures provides an introduction to the field of apologetics. Viewers will be informed and equipped for engaging a wide range of contemporary challenges with the best in Christian thought.

Session Titles and Runtimes:

1 - Introduction: An Invitation to Apologetics at the Cross (32 min)

2 - Apologetics in the Bible: Part 1-3 (30 min)

3 - Apologetics in the Bible: Part 4-6 (35 min)

4 - Apologetics within the Great Tradition: Part 1-3 (36 min)

5 - Apologetics within the Great Tradition: Part 4-6 (37 min)

6 - Making Sense of the Methods (28 min)

7 - Taking People to the Cross through Word and Deed (24 min)

8 - Cruciform Humility before God and Others (27 min)

9 - Appealing to the Whole Person for the Sake of the Gospel (22 min)

10 - Contextualization through the Lens of the Cross (34 min)

11 - Preparing to Engage (not Spin) in Late Modernism from the Inside Out (23 min)

12 - Engaging in Late Modernism (42 min)

13 - Dealing with Defeaters (35 min)

14 - Making a Case (35 min)

Apologetics at the Cross Video Lectures: An Introduction for Chr

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Apologetics at the Cross Video Lectures: An Introduction for Chr

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Apologetics at the Cross Video Lectures: An Introduction for Chr

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Editorial Reviews

Amid the pluralism and secularism of Western culture, Christian apologetics has experienced a renewal of interest. Apologetics at the Cross Video Lectures, a companion to the book Apologetics at the Cross by Joshua D. Chatraw and Mark D. Allen, provide an introduction to the field, acquainting students and lay learners with the rich history, biblical foundation, and ongoing relevance of apologetics.

Unique in its approach, Apologetics at the Cross Video Lectures presents the biblical and historical foundations for apologetics, explores various contemporary methods for approaching apologetics, and gives practical guidance in "how to" lessons that feature many real-life illustrations. With their respectful approach, which pays special attention to the attitude and posture of the apologist, Chatraw and Allen equip Christians to engage skeptics with the heart as well as the mind.

Conversational and accessible, Apologetics at the Cross Video Lectures provides an introduction to the field of apologetics. Viewers will be informed and equipped for engaging a wide range of contemporary challenges with the best in Christian thought.

Session Titles and Runtimes:

1 - Introduction: An Invitation to Apologetics at the Cross (32 min)

2 - Apologetics in the Bible: Part 1-3 (30 min)

3 - Apologetics in the Bible: Part 4-6 (35 min)

4 - Apologetics within the Great Tradition: Part 1-3 (36 min)

5 - Apologetics within the Great Tradition: Part 4-6 (37 min)

6 - Making Sense of the Methods (28 min)

7 - Taking People to the Cross through Word and Deed (24 min)

8 - Cruciform Humility before God and Others (27 min)

9 - Appealing to the Whole Person for the Sake of the Gospel (22 min)

10 - Contextualization through the Lens of the Cross (34 min)

11 - Preparing to Engage (not Spin) in Late Modernism from the Inside Out (23 min)

12 - Engaging in Late Modernism (42 min)

13 - Dealing with Defeaters (35 min)

14 - Making a Case (35 min)

Apologetics at the Cross Video Lectures: An Introduction for Chr




Design

Circular Vaults Embedded within a Prague Embankment Contain Shops, Cafes, and Public Spaces

October 18, 2021

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All images courtesy of Brainkworks

New cafes, galleries, and studios are popping up along the Vltava River in Prague, although they’re not immediately visible from atop the embankment. Tucked inside former storage units embedded within the structure itself are 20 tunnel-like spaces redesigned for public use. Appearing like glass-doored portals lining the waterfront, the multi-purpose project is part of the Czech city’s efforts to revitalize a four-kilometer swath of the riverbank, which previously served as a parking lot, and are the undertaking of architect Petr Janda who helms the Prague-based studio Brainwork.

Each vaulted venue contains concrete walls and flooring and gleaming stainless steel that reflects its surroundings. Spaces designated for shops and galleries feature large, elliptical doors in glass, while the other 14 are marked with a sculptural entrance, hiding the remaining space occupied by private tenants or used for public bathrooms from view. “The interventions symbiotically merge with the original architecture of the riverside wall, into which they naturally fuse,” Janda told designboom. “By using the acupuncture strategy, they re-create a monumental whole.”

Head to Instagram to find preliminary sketches for the redesign and to follow Brainwork’s future projects.

 

 

 



Design Illustration

A Colorful Series of Sugar Skulls Appear on New USPS Stamps Designed by Luis Fitch

October 18, 2021

Christopher Jobson

Images © USPS, all rights reserved. Designed by Luis Fitch.

The United States Postal Service has issued a set of colorful postage stamps that celebrate Día de los Muertos (Day of the Dead), an annual holiday celebrated in Mexico and beyond on the first two days of November. The vibrant stamps depict a family of four calaveras (sugar skulls) designed by Minneapolis-based Chicano artist and designer Luis Fitch who has been obsessed with postage stamps since a young age.

A chance encounter near a train exit by the National Mexican Art Museum in Chicago lead to the creation of the stamps:

Every year, the day before his birthday, [Fitch] writes a list of things he wants to achieve, asking the universe. In October 2018, he remembered his old dream, designing a stamp, and made it number one, the slot for his most difficult and unrealistic goal.

The next day, the director of the stamp design program called.

He had seen the single poster Fitch wheat-pasted—on a whim, while waiting for his son—near the train exit for the National Mexican Art Museum in Chicago. And then he had gone to the museum, where twelve of Fitch’s posters were included in an exhibition on the Day of the Dead. This was just the style he was looking for, he said.

Fitch’s stamp designs incorporate multiple visual motifs traditionally used during the holiday including lit candles meant to guide deceased loved ones on their annual return journey, and cempazuchitles (marigolds), the most popular Día de los Muertos flower. Each of the four stamps depicts a different family member in the form of a sugar skull: a father with a hat and mustache, a child donning a hair bow, a curly-haired mother, and another child.

The stamps are now available in multiple formats at the USPS. (via Hyperallergic)

 

 

 



Art

Abandoned Caravans and Castles House Mysterious Illuminated Portals in Andrew Mcintosh's Paintings

October 18, 2021

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All images © Andrew McIntosh, shared with permission

In abandoned sheds, tiny campers, and imposing, hilltop castles, Scottish artist Andrew McIntosh (previously) nestles glowing entryways to mysterious new worlds. The illuminated portals are central to the artist’s ongoing interest in exploration, curiosity, and a never-ending desire to uncover the unknown, and they offer a tiny window into what lies beyond the immediate landscapes. Each of the compositions exudes a ghostly air, with fog or storm clouds hanging above the once-occupied spaces.

Whether the focus of the work or tucked in an enclave, art historical references proliferate many of McIntosh’s oil-based paintings. He positions the renowned works often preserved in institution halls within the context of outdoor settings or dilapidated travel trailers, a subversion that establishes his conceptual framework. In his most recent series, the artist reimagines the “Tower of Babel” as a rugged termite hill and places the catacombs of the Colisseum into a paint-chipped caravan, a vehicle he sees as “the perfect symbol of human hardiness and the intrepid desire to explore, an instinct that exists no matter how small or humble the being.”

Some of the paintings shown here are part of McIntosh’s solo show God Shaped Holes, which is up through October 30 at London’s James Freeman Gallery, and you can explore a larger collection of his works on his site and Instagram.

 

 

 



Art History Photography

An Immense New Book Surveys the Work of More Than 300 African Artists

October 15, 2021

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Zanele Muholi, Bhekezakhe, Parktown (2016), gelatin silver print, 50 × 35.9 centimeters. Photo © Zanele Muholi. Stevenson, Amsterdam, Cape Town and Johannesburg, and Yancey Richardson, New York

One of the most expansive volumes of its kind, African Artists: From 1882 to Now compiles a broad sampling of works from more than 300 modern and contemporary artists born or living on the continent. Within its 350-plus pages, the massive text spans a range of mediums and aesthetics, from Mary Sibande’s sprawling postcolonial installations and Wangechi Mutu’s fantastical watercolor collages to the cotton-embroidered photographs by Joana Choumali. The forthcoming volume follows the publisher’s 2019 book Great Women Artists, which gathers works from 400 artists from 54 countries across 500 years, and it’s available for pre-order from Phaidon and Bookshop.

 

Papa Ibra Tall, “La semeuse d’étoiles (‘The Star Sower’)” (undated), tapestry, 201 × 298 centimeters. Photo © the artist

Kwesi Botchway, “Green Fluffy Coat” (2020), acrylic on canvas, 78.7 × 78.7 centimeters. Photo © the artist, courtesy of Gallery 1957, Accra

Mary Sibande, “A Reversed Retrogress: Scene 1” (2013), lifesize fiberglass mannequins and cotton textile, 180 × 120 × 120 centimeters. Photo © the artist, courtesy of the artist

Michele Mathison, “Breaking Ground” (2014), steel and enamel, 203 × 104 × 40 centimeters. Photo © the artist, courtesy Michele Mathison and WHATIFTHEWORLD

Eddy Kamuanga Ilunga, “Fragile 5” (2018), acrylic and oil on canvas, 187 × 196 centimeters. Photo © the artist, courtesy of the artist and October Gallery, London

John Akomfrah. “Vertigo Sea” (2015). Photo © the artist and Smoking Dogs Films, courtesy of Smoking Dogs Films and Lisson Gallery

 

 



Art

12,000 Sheets of Wrinkled Rice Paper Drape Around a Monumental Installation by Zhu Jinshi

October 15, 2021

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“Boat” (2015), Xuan (rice) paper, bamboo, cotton threads, 18 x 7 meters. All images courtesy of the artist and Pearl Lam Galleries, shared with permission

More than 12,000 sheets of delicate Xuan paper form the ruffled exterior of Zhu Jinshi’s suspended “Boat” sculpture. The renowned artist, who’s currently living and working in his hometown of Beijing, is widely regarded for pioneering Chinese abstract art, and this monumental installation from 2015 is a reflection of his conceptual, meditative practice.

Spanning 18 meters long and seven meters wide, “Boat” is comprised of wrinkled paper layers draped around bamboo frames. Countless thin cotton threads hold the individual components in place and intersect the curved, tunnel-like form with straight lines that extend vertically to the ceiling. Bisected with a central space for viewers to pass through, the metaphorical work considers the passage of time and space and is an extension of Zhu’s 2007 installation “Wave of Materials” (shown below), which features a single, halved form anchored to the gallery floor with stones.

The artist is exhibiting at West Bund Art and Design 2021 next month and is opening a solo in Shanghai at the end of the year. Until then, explore an archive of his works at Pearl Lam Galleries and on Artsy.

 

“Boat” (2015), Xuan (rice) paper, bamboo, cotton threads, 18 x 7 meters

Detail of “Boat” (2015), Xuan (rice) paper, bamboo, cotton threads, 18 x 7 meters

Detail of “Boat” (2015), Xuan (rice) paper, bamboo, cotton threads, 18 x 7 meters

“Wave of Materials” (2007), Xuan paper, cotton thread, bamboo, and stones

“Wave of Materials” (2007), Xuan paper, cotton thread, bamboo, and stones

 

 



Art

Drawings and Paintings by Pat Perry Reinterpret American Stories with Tender Absurdity

October 15, 2021

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“Recital XII” (2021), acrylic on panel, framed, 26 x 48 inches. All images courtesy of Hashimoto Contemporary, shared with permission

In Pat Perry’s Sensemaking, there’s no rubric for telling a story. In quiet scenes framed through roadside vantage points and performances of costumed figures and contemporary symbols, the Detroit-based artist (previously) considers the deeply American tendency to configure the world with single, flat narratives. Perry takes an opposing approach, though, and instead layers his pieces with contradiction, complexity, and unusual details that reflect the current moment.

Rendered in subtle color palettes, his drawings and paintings pull from the visual lexicon of Midwestern life (i.e. children playing on pipe abandoned in a field or a lone figure sitting at a card table on the sidewalk), although they contain imaginative twists and nuanced social commentary: swimming pools sit below an underpass, banners display Craigslist ads, and fleeting social media trends are printed on large posters. “These paintings and drawings offer a joyful glimpse into an invented world; one that’s closely related to the one right in front of us; one that we so often struggle to see clearly and make sense of,” a statement about the series says.

 

Sensemakers” (2021), acrylic on panel, framed, 48 x 57 inches

In a lengthy essay published by Juxtapoz back in August, Perry elaborates on the impetus for his latest works, which center around a broad theme of flawed logic. He revists his attempts to understand the world through the lens of his religious childhood in Michigan and later, the anarchic ideologies that guided his early adult years, and the two conflicting narratives profoundly impact the artist’s approach today. “Chapter Three of my life so far has had something to do with recognizing that truly lessening suffering maybe has less to do with understanding the world, or playing an oversized role in it. It may not be about constantly ‘using my voice,'” he writes.

Sensemaking, which features dozens of new paintings, charcoal drawings, and works in acrylic and pen, is on view from October 6 through November 16 at Hashimoto Contemporary in New York, and you can follow Perry’s work on Instagram.

 

“Recital XIII” (2021), acrylic on panel, framed, 48 x 54 inches

“River Friends” (2021), acrylic on panel, framed, 49 x 64 inches

“Black Square” (2021), acrylic on panel, framed, 42 x 48 inches

“Video Wishing Well” (2021), acrylic on panel, framed, 20 x 20 inches

“NPC Melek Taus” (2021), acrylic on panel, framed, 29 x 54 inches

“Indexers 1” (2021), acrylic, pencil, and pen, framed, 22 x 30 inches

“Glossary” (2021), acrylic, pencil, and pen, framed, 22 x 30 inches

“Indexers 2” (2021), acrylic, pencil, and pen, framed, 22 x 30 inches