Art's True Mission in America


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The Unsaved Christian


Book Description

What to do when they say they’re Christian but don’t know Jesus Whether it’s the Christmas and Easter Christians or the faithful church attenders whose hearts are cold toward the Lord, we’ve all encountered cultural Christians. They’d check the Christian box on a survey, they’re fine with church, but the truth is, they’re far from God. So how do we bring Jesus to this overlooked mission field? The Unsaved Christian equips you to confront cultural Christianity with honesty, compassion, and grace, whether you’re doing it from the pulpit or the pews. This practical guide will: show you how to recognize cultural Christianity teach you how to overcome the barriers that get in the way give you easy-to-understand advice about VBS, holiday services, reaching “good people,” and more! If you’ve ever felt stuck or unsure how to minister to someone who identifies as Christian but still needs Jesus, this book is for you.




Letter to Artists


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Meeting House Essays in a series of papers reflecting on the mystery, beauty and practicalities of the place of worship. This popular series was begun in 1991, and each resource focuses on a particular aspect of space, design or materials and how they relate to the liturgy.







The Musician


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American-Made


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If you’ve traveled the nation’s highways, flown into New York’s LaGuardia Airport, strolled San Antonio’s River Walk, or seen the Pacific Ocean from the Beach Chalet in San Francisco, you have experienced some part of the legacy of the Works Progress Administration (WPA)—one of the enduring cornerstones of Franklin D. Roosevelt’s New Deal. When President Roosevelt took the oath of office in March 1933, he was facing a devastated nation. Four years into the Great Depression, a staggering 13 million American workers were jobless and many millions more of their family members were equally in need. Desperation ruled the land. What people wanted were jobs, not handouts: the pride of earning a paycheck; and in 1935, after a variety of temporary relief measures, a permanent nationwide jobs program was created. This was the Works Progress Administration, and it would forever change the physical landscape and the social policies of the United States. The WPA lasted for eight years, spent $11 billion, employed 8½ million men and women, and gave the country not only a renewed spirit but a fresh face. Under its colorful head, Harry Hopkins, the agency’s remarkable accomplishment was to combine the urgency of putting people back to work with its vision of physically rebuilding America. Its workers laid roads, erected dams, bridges, tunnels, and airports. They stocked rivers, made toys, sewed clothes, served millions of hot school lunches. When disasters struck, they were there by the thousands to rescue the stranded. And all across the country the WPA’s arts programs performed concerts, staged plays, painted murals, delighted children with circuses, created invaluable guidebooks. Even today, more than sixty years after the WPA ceased to exist, there is almost no area in America that does not bear some visible mark of its presence. Politically controversial, the WPA was staffed by passionate believers and hated by conservatives; its critics called its projects make-work and wags said it stood for We Piddle Around. The contrary was true. We have only to look about us today to discover its lasting presence.