Category: Articles

Jenson sets up the essays and letters that follow addressing the controversy and context that surround the Word mural, a twenty-seven foot painting of Jesus at the center of Biola’s campus. He notes the different perceptions held by the greater community, minority groups and the arts community at Biola. He also notes the role of Biola’s president, Barry Corey, in deciding the future of the mural and the process Corey took in making his decision.

Written in 2009, the letter describes the historical context for the controversies surrounding The Word mural, including discussions following the Rodney King trial and riots in April of 1992 and formation of groups on Biola’s campus representing and supporting different minority groups and campus diversity. The letter defines the major contentions with the mural—Jesus being portrayed as white, Jesus as an imposing and authoritarian figure, and the alienation of non-Christians and those of minority ethnicities. It also outlines four suggestions for addressing these issues with the mural as a way to move forward.

Biola University’s Professor of Art offers a description of the creation of the Word mural as well as background on the artist, Kent Twitchell, including mention of his other works and the development of religious imagery in them. Krammes also reflects on his own experience with the controversy surrounding the mural, as both a member of the arts community at Biola and one who wishes to partner with and support minority groups on campus. He states that the mural, in its limited portrayal of Christ, will continue to challenge individuals in their own perception of who Jesus is, but offers the possibility that God is able to work through this imperfect and flawed portrait.

Using the second commandment as a starting point, Jenson examines the biblical context for images of God, noting that at times God assigned an image for himself, including humanity. Humans, though, have misappropriated worship to man-made idols, even perverting images given by God, such as the golden serpent. He then quotes John of Damascus and John Calvin to show varying views of image making in the Church. Placing the biblical and historical discussion on images into the context of the Jesus mural at Biola, Jenson discusses the inevitability of image making and how it influences our devotion and view of Jesus. He also notes the difference between how images are used in a church and university context. In the end he asks for an examination of the use and effect of the Jesus mural by the two things that gives us the clearest picture of Jesus—Scripture and the body of Christ.

Focusing on how Jesus is portrayed with European features, due to the artist’s subject for the mural being a Russian Jew, Christerson addresses the historical and psychological implications for having a white Jesus as a centerpoint to Biola’s campus and marketing campaigns. The perpetuation of a European Jesus links the Word mural and Biola to the history of oppression of Africans, Asians, and Native Americans by white Europeans and Americans, bringing the past to the present without room for reconciliation or change. Christerson also examines the psychological effect of having a European Jesus both for minorities and white Americans who view it, due to the association of whiteness with purity and good and blackness with evil and ugliness. In the end Christerson’s only solution is to not restore the mural.