Jim Hinch

Category: Los Angeles

The African Future of American Christianity

My latest story in Boom: A Journal of California…


A New African Revival Comes to Orange County

by Jim Hinch

from Boom Winter 2015, Vol 5, No 4

Saturday mornings, as the sun rises over the master-planned streets of the city of Irvine, a fleet of dusty pickup trucks bearing peaches, carrots, tomatoes, bok choi, and other farm-fresh produce trundles into the parking lot of one of California’s largest evangelical megachurches.

Therein lies the future of American Christianity.

The farmers in the trucks set up stands for the Irvine Certified Farmers Market, staged weekly by the ninety-eight-year-old Orange County Farm Bureau. The market—the largest in Orange County—moved to the church in December 2014. Before then, the farmers had leased a shopping center parking lot across the street from the nearby University of California, Irvine, where for two decades well-heeled customers “in everything from burkhas to bikinis,” as market manager Trish Harrison put it, stocked up on produce grown on local farms. Harrison said the shopping center welcomed the market in the 1990s, when the city was half its present size. But the market grew and the city grew until “people were saying, ‘I can’t find a parking space, I’m going home.’” Merchants complained. The shopping center complained. “I knew we had to move,” Harrison told me.

The farmers couldn’t afford to move. “It’s a high-rent district, let’s be honest,” Harrison said. She tried the university. “So much bureaucracy.” She considered a nearby high school. Too small. Then, one day, Harrison thought of a parking lot that “looked like Disneyland.” The 2,100-seat space, tree-lined lot sloped gently from a fifty-acre landscaped campus of glass and steel buildings arranged around a lake, a stream, waterfalls, and a playground with a climbable Noah’s Ark and a smiling life-sized whale opening its mouth to swallow little Jonahs. The lot belonged to Mariners Church, one of the most influential evangelical megachurches in the United States, with more than 13,000 members, four worship centers in Orange County, and a network of global church partners in Kenya, Uganda, Congo, China, Egypt, Haiti, Mexico, Sri Lanka, and Germany. Harrison checked out the lot one Saturday morning and noticed something else. “They have tons of bathrooms.. . . We [wouldn’t] have to wait to pee.”

Harrison told customers that she was thinking of calling the church. “They said, ‘You will not get an appointment with them. They will not speak to you.’” Harrison called the church. A few days later, she was touring the parking lot with senior pastor Kenton Beshore and some other staff members. “You want this lot?” they asked. “I said that would be perfect. They looked at each other and said, ‘Let’s do it.’ I almost fell on the floor.”

There is nothing outwardly remarkable about a farmers market in a church parking lot—not even a Southern California farmers market, with its requisite nonsectarian kaleidoscope of aging hippies, Persian soccer moms, skate punks, Vietnamese restaurateurs, immigrants in minivans, and real estate flippers in Audis. Mariners Church doesn’t profit from or proselytize at the market, although church volunteers do run a free miniature train ride for kids. What is remarkable in this scenario is the chain of events that led to Kenton Beshore’s casual “Let’s do it.” A few years ago, no one at Mariners would have seen the point of welcoming a secular institution onto its grounds. But that was before the missionaries arrived, and before Mariners, once dubbed by a Los Angeles Timesreporter “the Dallas Cowboys of churches,” began modeling itself on a thriving, social-service-oriented megachurch in a middle-class neighborhood of Nairobi, Kenya. The story of that unlikely transformation—which happened to prove fortuitous for Trish Harrison and her farmers—is a California story, a story of America’s immigration bellwether showing the nation’s churches a possible path forward in a rapidly secularizing nation. “God is throwing a global party, and it’s in the southern hemisphere,” Beshore told me when I asked him about the immense changes Mariners has undergone since the day eight years ago it hired a young Kenyan pastor to help with missionary work. Actually, the global party has been coming to California for years. That an evangelical megachurch noticed and decided to throw open its doors to the multitude might give the rest of America’s beleaguered Christians something to celebrate—and emulate.

By evangelical megachurch standards, Mariners is a venerable congregation. It began in 1963 as a Bible study group in a Newport Beach tract house. The study group grew, expanded to other nearby houses, and then hired a full-time pastor in 1967. The church took its name from a local elementary school where early services were held in an auditorium. The congregation was classic Orange County—white, well-to-do, informal, fond of worship services at the beach, and prayer breakfasts with the mayor and city officials. The church remained medium-sized until 1984 when Kenton Beshore, a native Southern Californian who had arrived at Mariners six years earlier as a college pastor, was promoted to lead the church. Beshore, who at the time looked and talked like the star of a 1960s surfing film, transformed Mariners into a magnet for spiritually seeking baby boomers. The church joined other notable innovators—including Saddleback Church, also in Orange County, and Willow Creek Community Church in suburban Chicago—dubbed by a 1996Atlantic magazine story as exemplars of an emerging “Next Church” movement. These churches, super-sized with thousands of members, had experienced spectacular growth by sweeping aside fusty church traditions to make way for up-tempo music, sleek sanctuaries, and a seven-day-a-week menu of activities and programs designed, in Beshore’s words in the Atlantic, to give people “what they want.” By the early 2000s, Mariners had more than 10,000 members and a multimillion dollar budget.

It was then that Christian Mungai, born in a village in Kenya and raised near a Nairobi slum, appeared in Mariners’ 3,400-seat worship hall as part of an African gospel group called Milele. The five-year-old group, modestly successful on the African gospel circuit, was touring American churches to sing and, in Mungai’s words, help American evangelicals “learn how to do missions” in twenty-first-century Africa. Mungai had recently returned to Nairobi after earning a divinity degree at Claremont School of Theology in California. His time in America, he said, had solidified his view that many American evangelicals’ understanding of contemporary Africa was woefully out of date. “It’s a form of neocolonialism,” he said of some Americans’ approach to missionary work. “For someone to come and think they can bring the gospel and God—previous generations of Western missionaries already did that. They did their job and raised up leaders. We don’t need people coming to do that anymore. Why not support the leaders already there?”

After their concerts, Milele’s members—Mungai and three childhood friends—sat down with host pastors and urged them to shift the focus of their church’s missionary work toward supporting African-led efforts to ameliorate the continent’s problems. The message was not well received. “It’s hard for Americans to learn from other people,” Mungai said. Mariners Church was the last venue on Milele’s 2003 tour. Given the chilly reception the group had just received at nearby Saddleback Church, Mungai said he was not surprised when Mariners’ pastors politely told him they saw no need to alter their approach.

Mungai returned to Kenya discouraged but unwilling to give up. He remained in contact with American pastors and booked more concerts, including a 2004 reappearance at Mariners recorded live for a music video. As before, Milele’s music was more warmly received than its post-concert lectures.

Then, in 2006, Mungai learned that Mariners had hired a new director of international missions, a thirty-three-year-old pastor named Matt Olthoff. Mungai emailed Olthoff to ask if he’d like to meet. Later that year, the two sat down in Olthoff’s office. To Mungai’s dismay, even this new, young pastor was uninterested in pursuing partnerships with African-led Christian social-service initiatives.

Walking out of the meeting, Mungai wondered whether he was partly to blame for his lack of success. “I went in with an agenda just like the Americans do,” he said. “I needed to lead from a place of relationship.”Impulsively, he called Olthoff back and asked to meet again—no agenda, just to get to know one another.

Olthoff, it turned out, had just gone through a divorce. “I was broken, feeling isolated,” he said. Mungai, thirty-two at the time and single, was and remains an ebullient personality, with a ready smile and a head sometimes shaved, sometimes topped with finger-sized dreadlocks. Sitting in the Mariners’ campus café, Olthoff found himself telling Mungai the story of his divorce. Mungai, in turn, shared his frustrations about American missionaries.

“Who else talks like you, about a new Africa?” Olthoff asked.

Mungai mentioned the pastor of his church, a rapidly growing Nairobi megachurch called Mavuno, which had expanded in part by encouraging its members to become what the pastor, Muriithi Wanjao, called “fearless influencers of society”—people who solve local problems by harnessing the resources of the church. Mungai said he wished more American evangelicals were willing to learn what churches like Mavuno were already doing and join them in that work. “Americans offer strategy and resources,” he said. “But Africans offer a sense of resilience. They are the most resilient people in the world. They love music and culture and dance and family and community, things that in America are breaking down.” Mungai said to Olthoff: “I can help you. Come to our church and see what we’re doing.”

A few months later, Olthoff was in Nairobi. He spent time with Mungai and met Wanjao. Taken aback by the size of Mavuno Church and the number of members who had committed themselves to social service projects, Olthoff impulsively offered Mungai a job. “I’m like, what if we brought Africa to Mariners?” he recalled. “We’re always sending people to Africa. But that person would change our church forever. I remember thinking I was new on the job and I was going, ‘I don’t know how to do African ministries. Wouldn’t it make sense to bring someone who knows the culture? Wouldn’t that make sense? Maybe this is crazy.’”

Mungai said yes. “I literally went home and cried,” he said.

Mungai started work at Mariners in November 2007 as coordinator of missions to Africa. Soon after, Muriithi Wanjao, pastor of Mavuno Church, invited Kenton Beshore and other senior Mariners leaders to visit Kenya and learn more about how Mavuno worked. A group of Mariners pastors, including Kenton Beshore and his wife, Laurie, traveled to Nairobi in early 2008. Arriving amid widespread violence following a contested election, the pastors were as struck as Olthoff had been by Mavuno’s size, rapid growth, and level of spiritual commitment. They were even more surprised when the Kenyan pastors delivered a blunt lecture about the changing power dynamics in global Christianity. “Churches in the western hemisphere are dying,” one of the pastors said. “But in the global south they are growing. Shouldn’t it be that we should be the ones sending people your way and revitalizing your churches? Your world is post-Christian. We are growing.”

Oscar Muriu, the Kenyan pastor who delivered that message, was in fact not from Mavuno, but rather was the leader of another even larger church called Nairobi Chapel, which had spun off Mavuno as one of numerous start-up congregations a few years earlier. Beshore and the other Mariners pastors realized that the megachurch they had come to visit, growing faster than their own, was just a small part of an even larger and more rapidly growing Christian network.

“Kenton felt like Oscar slapped him,” Mungai recalled. “He says to me, ‘I have never heard anything like this.’” The Mariners pastors attended raucous worship services at Mavuno. They met church members who had started a micro-finance loan network in a nearby slum. Beshore said he realized Mavuno thrived not by giving its members what they wanted, but by demanding from them a total commitment to Christian life, especially Jesus’ call to serve others. “They have things we don’t have,” Beshore told me. “They’re killing it doing what they’re doing.” At the end of the visit, Beshore invited Muriu to come to Mariners to show him how to make his church more like Mavuno. “It’s so arrogant to say we’re the best country in the world,” he said. “It’s so unattractive. And it’s not true.”

Beshore’s—and Muriu’s—assessment of global Christianity is correct. Roughly 60 percent of the world’s Christians now live in Africa, Asia, and Latin America, according to a recent Pew Research Center analysis of the world’s religious populations.1 That share is forecast to grow to nearly three-quarters by 2050. Meanwhile, in the United States, Christianity is steadily contracting. Just two-thirds of Americans are expected to be Christian in 2050, with a quarter of the nation claiming no religious affiliation at all. Already 35 percent of Americans born after 1980 are nonreligious. The unchurched are America’s fastest growing religious demographic.2

American Christianity is changing as it shrinks. Smaller, older churches, especially those affiliated with once-dominant Protestant denominations such as the Southern Baptists and various Presbyterian groups are struggling. Catholic dioceses in the Northeast and Midwest are closing parishes and schools. Only two kinds of churches continue to grow: those that attract immigrants, such as Pentecostal congregations and Catholic parishes in the Southwest; and megachurches, whose big budgets and robust programming have drawn Christians fleeing smaller, dying congregations. Studies by Leadership Network, an evangelical research organization specializing in large churches, show that over the past decade megachurches have grown and remained financially stable even as smaller churches shrink and struggle to make their budgets.3

The trend toward consolidation has been good for megachurches but not for Christianity as a whole. Megachurches have proven adept at wooing Christians dissatisfied with traditional forms of religious expression. But like evangelicalism itself, megachurches mostly have not adapted to America’s rapidly changing demographics and cultural mores. More than four-fifths of megachurches are majority white, according to a 2011 Leadership Network study.4 Hispanics and Asians—America’s fastest-growing demographic groups—are underrepresented in American evangelicalism by wide margins.5 Millennials are the least likely of any age group to be Christian.6

At a time when America and Christianity are globalizing, most evangelical churches are organized to meet the needs of an older, whiter population that, in a few decades, will no longer be the American majority. “The West has the money, but the numbers are in the non-west. That’s our context,” said Ryan Bolger, professor of intercultural studies at Fuller Theological Seminary in Pasadena.

A decade ago, Mariners Church was mostly indistinguishable from America’s other successful megachurches. The budget was big, the programming was robust, the worship services were high-tech, and the congregation was mostly white and financially well-off. Mariners differed from other megachurches in supporting a robust array of local community service initiatives both at the church and in four church-run community centers in low-income areas of Orange County. The initiatives were largely overseen by Laurie Beshore, wife of Kenton, the senior pastor. They were popular in the congregation but not central to the church’s agenda. “The irony is, my husband doesn’t have a big heart for the poor in the community,” Laurie told me. She meant Kenton’s focus at the time was on bringing people to Jesus, not solving Orange County’s economic problems.

When Oscar Muriu arrived at Mariners with several other pastors from Nairobi, he brought with him an approach to Christianity that is difficult to categorize in American terms. According to historian Philip Jenkins, who has written extensively about the global shift in Christianity’s center of gravity, African Christians combine beliefs and practices that straddle—and sometimes transcend—Western churches’ often debilitating divide between liberalism and conservatism.7


African Christians have supported repressive anti-homosexuality laws in Uganda and practiced forms of spiritual healing that, to Western observers, verge on witchcraft. But churches in Africa also have played prominent roles in struggles against colonialism, and they continue to view themselves as engines of social and economic development for their communities. The unifying thread is their wholehearted response to the Bible—to Scripture’s traditional sexual mores, its call to redeem the world, and its assumption that God is powerfully active in everyday life. That unreserved embrace of faith as a means of both personal and social liberation has contributed to explosive growth in non-Western churches.

While visiting Mariners, Oscar Muriu immediately asked why the church’s community outreach initiatives were not center-stage. “Why do you have Laurie where you have her?” he said, referring to Laurie Beshore’s social service ministry. “She should do things at an all-church level.” (Laurie now serves as a senior pastor alongside her husband.) Muriu preached at Mariners’ weekend services, telling the assembled Orange Countians what he had told Kenton Beshore in Nairobi: “There’s a global party, and the American church has not been invited.” Beshore warned the congregation to expect changes. “I want to be part of this global party,” he said. “I don’t want to be left behind.” Muriu received a standing ovation.

Change in the church world, especially at large churches, is generally slow. Churches are inherently conservative institutions, run by governing boards of longstanding members often wary of innovation. By these standards, the changes at Mariners following the arrival of Christian Mungai have been rapid and far-reaching. A year after Muriu’s first visit, Mariners implemented a spiritual development program pioneered by Mavuno Church called Mzizi, a Swahili word meaning “rooted.” For ten weeks, Mariners members met weekly in small groups to help one another discern how they were being called by God to serve their community. The goal was not simply to produce a new crop of soup kitchen volunteers. Mungai said Mariners wanted its members to “become known for their radical generosity. You give and there are no strings attached to people who never give to you or don’t have an ability to give to you. We want people to say, ‘I’m a fearless influencer of society wherever I am.’”

The church began offering no-strings-attached money and volunteers to local nonreligious service organizations such as the Boys and Girls Club, a local public continuation high school, and a nonprofit called Women Helping Women that helps formerly drug-addicted or incarcerated women find jobs. Two Mariners members, one a former Muslim, formed a group to visit local mosques and forge ties with Muslims. The group helped to stage a series of forums about Islam at Mariners and at a mosque in Mission Viejo. Mariners then partnered with mosque members to feed the homeless in downtown Santa Ana. When the pastor of Templo Calvario, a Spanish-language megachurch in Santa Ana, asked Laurie Beshore if she and Kenton would consider joining a national group of evangelicals to lobby for comprehensive immigration reform, the Beshores said yes, breaking a longstanding vow Kenton had made to himself to keep Mariners out of political debates. “It’s a dangerous subject, no doubt about it,” Laurie told me. But conversations with the Kenyans had changed the Beshores’ view of advocacy work. “Our strategy is to serve, starting with the poor, the marginalized, and the forgotten,” Kenton said. “In this church, there are lots of wealthy people. I tell them, ‘You need the poor more than the poor need you. You’re poor in spirit.’ People who come to this church think money and power is the solution to everything in this world. Jesus said by being willing to get down and serve, you’re transformed.”

Mungai began taking groups of Mariners members to visit Mavuno Church. Some were initially confused when Mungai told them they would not be bringing money, food, school supplies, or any of the other donation items typically offered by American evangelicals traveling to Africa. “I had to say, ‘This is not just what you’re going to do. You have to ask what is God going to do in you?’” The Mariners visitors attended services at Mavuno, learned how the church worked, and met laypeople who had started successful community service initiatives. Bob Drobish, a technology startup CEO and member of Mariners’ board of elders, recalled his surprise meeting Daisy Waimiri, a Mavuno member and mother of three who had started a thriving community-based micro-loan program in Kibera, Nairobi’s—and Africa’s—largest urban slum.

“Isn’t she a force of nature?” Drobish said of Waimiri. The loan program, called Maono (“Vision”), grouped local businesspeople—hairdressers, coal sellers, sweepers—into accountability groups who borrowed and repaid collective loans together. Waimiri said she conceived of the program after attending Mavuno’s Mzizi classes. “My church has this thing. . . they take you through trainings, and at the end they expect you to go to the community and do something,” she told me via Skype. Waimiri’s first investor was her husband. When she met Drobish, she told him she needed more investors to expand the initiative. Five years later, with help from Drobish and other Mariners’ members, Maono has loaned roughly $100,000 to more than one thousand businesspeople in Kibera. “They haven’t imposed anything on us,” Waimiri said of her Mariners partners. “They don’t tell us what to do. Even when they give the money they say, ‘You’re on the ground, you know better.’ Which is very rare with Western donors.”

Robyn Williams, a forty-three-year-old former corporate publicist who attended Mariners as a child, said she remembered returning to the church after college in the 1990s and thinking, “Everyone here drives a Mercedes. . . they’re not really doing much for the poor.” Williams was one of thousands of Mariners members who signed up for the Rooted spiritual development program, inspired by Mavuno Church’s Mzizi program. In her Rooted meetings in 2011, Williams began “exploring what has God created me to do and how am I going to make an impact on other people’s lives in the community?” She joined Christian Mungai on one of his trips to Nairobi, where she met a Mavuno member named Ken Oloo, a marketing executive who had helped children living in Kibera earn money as videographers by supplying cameras and teaching the children how to use them. Suddenly, Williams said, her work for a mid-sized Orange County public relations company seemed disconnected from social justice by comparison.

Returning home from the Nairobi trip, Williams began looking for a new job. Through a banking client, she met the CEO of Women Helping Women. A few months later, Williams was hired as the nonprofit’s program director, working longer hours for less money but feeling “at the end of the day, what brings me the most joy and reward is that I’m making a difference and helping someone else become who God created them to be.” She has returned several times to Nairobi, where she says she now hopes one day to start an equivalent of Women Helping Women. Earlier this year, Williams was in the Women Helping Women booth at a clinic in Anaheim where mostly Muslim refugees from Syria and Iraq were offered free medical care and job assistance. The clinic was a partnership between Mariners and an Anaheim Arabic-language church. “My friends tease me and say I’m half Kenyan,” Williams said. “What’s exciting is, it’s not just happening in Nairobi. It’s happening in Newport Beach.”

Encouraged by the results of exchanges between Mariners and Mavuno, Mungai sought out other international church partners. Those partnerships—now with nine churches on three continents—are not structured like traditional missionary relationships. Mariners’ members visit partner churches and help with local service initiatives. But the partner churches also send members to Mariners. A residency program Mungai started two years ago invites pastors of partner churches to live and work at Mariners for one year, mostly for the purpose of broadening Mariners’ international perspective. It was one of those visiting clergy residents, a Mexican pastor named Daniel Nuñez from a church near Tijuana, who happened to remark one day last year, “I can’t believe the grass at Mariners is always so green.”

Puzzled, Mungai asked what Nuñez meant.

Nuñez said that in Mexico, no church lawn stays green for long because it is always being trampled by “people playing, eating. and doing community.”

Mungai gazed with embarrassment at Mariners’ immaculately landscaped grounds. “What he was saying is that to have green grass means it’s not being used,” Mungai said, “Whereas to us it means beauty. It’s a totally different mindset. We realized we have to use our campus for community.”

Not long after that exchange, Trish Harrison from the Irvine farmers market called looking for a parking lot.

Mariners has lost some members since it began its Nairobi-inspired transformation. Volunteers have left the missionary program because “they’ve resisted working alongside African leaders. They want to be the leaders,” Mungai told me. Kenton Beshore said “a few hundred people” walked out of the church when an evangelical immigration-reform activist was invited to preach. Three years ago, when Beshore and other Mariners pastors joined the national evangelical immigration-reform movement, enough Mariners members withdrew financial pledges that the church ended the year with a $500,000 budget shortfall.

And yet, the changes continued. Today, bolstered by new members offsetting the departures, Mariners is larger and more ethnically diverse than it was a decade ago. (The church does not track the ethnic identity of members. Pastors I spoke to estimated the church’s nonwhite population at anywhere from 20 percent to 35 percent of the congregation.) Church staff members speak Spanish, Korean, Chinese, and Swahili. Mariners remains a leading partner in the Evangelical Immigration Table, a national coalition of evangelical churches and para-church organizations advocating comprehensive immigration reform. “We got crazy tight Republicans to change their views,” Beshore told me. While volunteering at Mariners’ outreach centers, “They get involved with kids and the kids grow up and their parents get deported and they say, ‘This isn’t right.’ They’ve had a change in their world view.”

It is a change that could happen anywhere in America but was most likely to happen in California. Orange County today, like neighboring Los Angeles and California’s other major immigrant landing zones, is a spiritual gazetteer, one of the most religiously diverse places on Earth. The county is home to one of America’s fastest growing Catholic dioceses, where three-quarters of parishes celebrate at least one mass in a language other than English; one of the nation’s largest mosques; Buddhist temples and a Buddhist university; Korean- and Spanish-language megachurches; and a predominantly Asian megachurch, called NewSong in Irvine, started by a half-Korean pastor who envisioned a Christian community that transcended race entirely. The ideas brought by Mungai and his mentors from Nairobi felt revolutionary when they arrived. But, really, they were inevitable. What historian Philip Jenkins calls the “Next Christendom” has been taking shape in Orange County for years. The Kenyans simply helped the rich, white Christians at Mariners Church wake up to their new demographic reality.

Now it is Mariners’ turn to help. Three times each year, the church hosts a conference teaching other congregations how to implement their own Mzizi spiritual development programs. To date, roughly fifty churches, some from Southern California, others from as far away as Wyoming, have attended the conference. Mariners’ partner churches abroad also have adopted Mzizi programs. Last year, inspired by Mariners’ example, Concordia University, a conservative Lutheran college in Irvine, began hosting annual gatherings of international clergy and scholars to teach students how to minister in a globalizing America. Christian Mungai, Pastor Wanjau from Mavuno Church, and historian Philip Jenkins headlined the inaugural gathering. This year, speakers included the director of research for the Southern Baptist Convention, the pastor of one of Orange County’s largest African American churches and the director of faith formation for the Catholic Diocese of Orange.

“Our engagement with the global south has taught us that we don’t have all the answers, that there’s much to be offered by the rest of the world,” Mungai said. “It’s not from west to east. It’s from everywhere to everywhere.. . . The vision for the church starts with the vision of a lost world, and the church is not for the church but for the world.. . . The Kenyan way of looking at discipleship is a lifelong process. It’s not a few weeks and you’re done. It’s a whole life transformation.”


Photographs by Matt Gush.

Pew Research Center, “The Future of World Religions: Population Growth Projections, 2010–2050,” 2 April 2015.

Pew Research Center, “America’s Changing Religious Landscape,” 12 May 2015.

Warren Bird and Scott Thumma, “A New Decade of Megachurches: 2011 Profile of Large Attendance Churches in the United States,” Leadership Network, 2011; Warren Bird, “The Economic Outlook of Very Large Churches: Trends Driving the Budgets and Staffing Activities of North America’s Biggest Congregations,” Leadership Network, 2013.

Bird and Thumma, “A New Decade of Megachurches,” 7.

America’s evangelical population is 76 percent white, 6 percent black, 2 percent Asian, and 11 percent Hispanic (Pew Research Center, “America’s Changing Religious Landscape,” 52). By comparison, according to the U.S. Census, the United States as a whole is 62 percent white, 13 percent black, 5 percent Asian, and 17 percent Hispanic.

Pew Research Center, “America’s Changing Religious Landscape,” 70.

Philip Jenkins, The Next Christendom: The Coming of Global Christianity (New York: Oxford University Press, 2011), especially chapters 1 and 2.

Notes

 

111th Street Jesus

111th Street Jesus

 

My profile of Kent Twitchell, dean of Los Angeles mural art, whose work asks: Can the visual language of photorealism communicate the truth of God? In the arts journal Image.

111th Street Jesus

The Art and Faith of Muralist Kent Twitchell

By Jim Hinch

KENT TWITCHELL has painted Jesus on the sides of buildings in Los Angeles four times. One of those Jesuses (until it was whitewashed recently by a new property owner) was on the exterior of a liquor store at Vermont Avenue and 111th Street, in a gang-patrolled part of south Los Angeles known by city homicide detectives as “death alley.” Another Jesus, forty feet tall, gazes out over traffic along Wilshire Boulevard in the city’s bustling mid-section from the side of the former Otis College of Art and Design, Twitchell’s art school alma mater. A third Jesus, facing a parking lot and a suburban apartment building, wears a carpenter’s belt and a denim work shirt unbuttoned at the chest. The fourth Jesus is thirty feet tall, a bearded, dark-skinned, enigmatic figure clothed in a blood-red robe and holding out before him a leather-bound Bible. That Jesus covers the entire exterior wall of a two-story lecture hall at a Christian liberal arts college in the suburban city of La Mirada. The mural is titled simply, The Word.

Like Twitchell’s many other murals—close to fifty, in Los Angeles, Nashville, Philadelphia, Berlin, and other cities—the Jesuses were painted with special acrylic paint from detailed pencil sketches mapped onto walls via an elaborate system of grids. The paint was applied in patterns similar to a child’s color-by-numbers kit, with Twitchell sometimes suspended from a pulley to reach the highest parts of a wall. Up close, the images dissolve into rivulets of color that seem to flow around and alongside one another like streams of magnetized water that abut but never mix. From a distance, the patterns blend and harmonize into startlingly realistic likenesses. Some of Twitchell’s murals are as tall as eight stories. They stare out over the city like bright, flat, fully realized emissaries from a realm of giants. A quality of tremendous stillness surrounds them. The most effective, including all four murals of Jesus, give the impression of having existed long before the city arose, as if Twitchell did not paint them but rather scrubbed away some blemish in the air that had obscured them. This quality was especially evident in the now-vanished Jesus on the side of the death-alley liquor store. Photographs show a long-haired, bearded Hispanic man clothed in white and red robes opening his arms against a blank background nearly the width of the building. The gesture seems to invite the viewer into mural- land, where the hardships of urban life are dissolved in the quiet exactitude of art.

Twitchell, seventy-one, has been painting murals in Los Angeles since 1971, when, as an undergraduate at California State University, Los Angeles, he covered the side of a two-story Victorian house in the city’s Pico-Union neighborhood with a pale blue image of actor Steve McQueen. Twitchell is now considered the dean of mural art in Los Angeles, itself widely considered the mural capital of the United States. His images are an iconic, if fragile, part of the city’s ever-changing streetscape. Twitchell’s eight-story-tall rendering of the Los Angeles Chamber Orchestra, Harbor Freeway Overture, has greeted traffic-jammed travelers to downtown Los Angeles from the side of a high-rise parking structure overlooking Interstate 110 for more than two decades. Another freeway-adjacent mural, The Old Lady of the Freeway, a striking 1974 image near the Hollywood Freeway of a blue-eyed, gray-haired matriarch clad in a brown bathrobe and a python-like multihued crocheted afghan, was the city’s best known mural until a property owner abruptly painted it over in 1986 to make way for a billboard. Amid public outcry, Twitchell helped to establish the Mural Conservancy of Los Angeles, dedicated to cataloguing and preserving the city’s rich history of mural art. With the conservancy’s encouragement, Twitchell sued the building owner and was awarded $125,000, though it took him five years to collect the settlement.

kentmainimage

It is no accident that Los Angeles’s best known muralist has covered the sides of city buildings with images such as Holy Trinity with Virgin, 111th Street Jesus, or Seventh Street Altarpiece, or even Six Los Angeles Artists, a 1979 mural on the back wall of a state employment development office in the suburban city of Torrance that uses the likenesses of six of Twitchell’s artist friends to depict Jesus in the company of apostles Peter, James, and John, Mary the mother of Jesus, and Mary Magdalene. Here the apostles are bearded hippies with afros dressed in jeans and corduroy. The Virgin Mary is Asian-American artist Wayanna Kato, and Jesus is a mustachioed carpenter in a work belt and denim shirt. The figures are painted in Twitchell’s signature hyperrealist style. They stand face-forward against a jet- black background, their finely detailed expressions deadpan, their arms folded or hanging at their sides. In their reticent monumentality, the six artists-cum- saviors-of-the-world embody the intention at the heart of all of Twitchell’s work. Speaking late last year in his large, cluttered downtown LA studio, Twitchell said he aimed to create in viewers a sense of awe akin to his own feelings when he saw his first medieval cathedral while stationed in England as an Air Force illustrator in the 1960s. “There’s something about looking up like that that makes you feel small but not insignificant. Every person, even an atheist, has a vacuum inside that can only be filled by God. And that should be captured in a work of art.”

The definition of what precisely Twitchell has captured in the more than four decades he has spent painting giant-sized human figures on the sides of buildings varies depending on who’s looking. For some in the city’s arts establishment, the content of his work matters less than the paternal role he has played in LA’s mural legacy. “I would consider him the grandfather of murals in LA,” says Isabel Rojas-Williams, executive director of the Mural Conservancy, whose office adjoins Twitchell’s studio on the ground floor of a nearly century-old, fourteen-story former furniture warehouse. “The quality of his work, it was amazing and continues to be amazing,” Rojas continued. “And he hasn’t stopped. He’s inspirational for the new generation not only for the skill of his murals but also the way he has behaved as an artist and a person guiding and inspiring people to do the best they can.”

Scott Haskins, a California mural conservation expert who has helped to restore murals throughout the United States and Europe, singles out Twitchell for “his techniques and integrity and painting and motivation.” “I consider him to be at the top of the food chain,” Haskins says. “Some people think when you put spray paint on a wall it’s a mural. It’s not.” Twitchell, he says, “is one of the grandfathers of the highest quality of mural painting possible.”

Hollywood film and music producer Mark Joseph, a friend of Twitchell’s, came closer to Twitchell’s self-understanding when he told me in an interview earlier this year: “He’s in that difficult spot, that tension between the sacred and the secular and the subversive.” That description came near the end of a long conversation during which Joseph, who has done marketing work for the faith-oriented movie company Walden Media and produced the soundtrack for Mel Gibson’s The Passion of the Christ, lamented the “second-rate” quality of much self-professed Christian art, music, and filmmaking. Twitchell, Joseph said, has managed to sidestep the pitfalls that can trip up artists of faith. His work, housed in the permanent collection of the Los Angeles County Museum of Art and frequently covered in local and art-world media, is no niche product. Twitchell neither avoids nor exploits religious themes. “Kent could have been Thomas Kinkade if he wanted to,” Joseph said. “But he’s always been out there in his quietly subversive way refusing to keep his religion out of his work. And I really admire him for that.”

Twitchell readily identifies himself as a Christian, though he doesn’t currently attend a church. (“I got out of the habit,” he says. “I don’t think not going is a cool thing.”) He also readily admits to having dabbled in Scientology, Transcendental Meditation, “eastern mysticism and out-of-body experiences,” marijuana, mescaline, and LSD, until “I remember thinking to myself, ‘This is boring. This is just boring. I don’t understand why most of these people haven’t moved on from this.’ It took away your ambition.” For a time earlier in his career, Twitchell attended Grace Community Church, an evangelical megachurch in the San Fernando Valley, which he praises for its pastor’s “emphasis on doctrine.” “Doctrine is very important to me,” he says.

Twitchell has described his faith on various occasions, and in varying terms, as a quest to encounter, and to represent in works of art, the unchanging truth of God. That quest was partly realized by his study of the Bible using a Greek interlinear translation, and by his reading of writers such as C.S. Lewis, whose books line a jumbled shelf at the back of his studio. Mostly, though, Twitchell’s search for God has been expressed on the sides of buildings.

“It’s simply an outgrowth of my search for meaning,” he says of his work. “I don’t illustrate ideas. The art is stream-of-consciousness of who I am inside.” The murals’ hyperrealism is part of the search. “I believe truth can be known and is meant to be known. Everything is not relative…. The symbolism of that is realism as opposed to a non-objective approach to art. Philosophically, I’m defending the fact that I’m more excited about doing realism. I couldn’t get up in the morning if I was going to glorify the colors that a paint manufacturer did…. The most important thing we can do in fine art is to seek the truth.”

***

Twitchell was born on August 17, 1942, in Lansing, Michigan. He was raised on what he describes as a “small family farm, of which there were many” in a rural area southwest of the city. Twitchell recalls “growing up like on the Lassie TV show, with grandma and grandpa living next door, sort of like The Waltons.” (The Virgin Mary in The Holy Trinity with the Virgin, the forty-foot-tall mural on the side of the former Otis art college building, is modeled on character actress Jan Clayton, who played the mother on Lassie in the 1950s.) Twitchell’s father, Bob, was a foreman at a local car factory in addition to farming corn, wheat, oats, and a small herd of Holstein dairy cows. “My dad was artistic about the way he raised things,” Twitchell says. “I remember Look magazine came and was photographing his corn because it was so far beyond anything in Michigan.”

Twitchell retains the unboastful, low-key affect of a man raised in the Midwest, though he is in no way self-effacing or hesitant to speak his mind. Wiry, diminutive, and crowned with a mane of gray hair swept back from his forehead, he resembles the actor and stuntman Richard Farsnworth, who starred in the 1999 David Lynch movie The Straight Story. Twitchell’s blue-gray eyes dart restlessly when he talks, and he frequently rubs his face and beard with his hands, as if wiping clean the slate of his mind to make room for more thoughts. In conversation he jumps from topic to topic, following trains of association that start with, say, a freeway mural he painted at the behest of organizers of the 1984 Olympics in Los Angeles and end with how he met his second wife, Pandora, a long and colorful story involving gypsies, a Paul Anka record, and using prayer to ward off a hex. (He and Pandora are still married, and have a twenty-two-year-old son, Artie.)

When I met him at his studio late last year, he greeted me on the sidewalk wearing jeans, a gray paint-spattered sweatshirt, and black leather shoes. He led me inside, pausing every few steps to point out sketches, newspaper clippings and giant-sized mural studies hanging from the walls, including one panel painted with a ten-foot-wide rendering of Michael Jackson’s eyes—a study for a mural put on indefinite hold following Jackson’s embroilment in child molestation charges. Twitchell’s arms moved as he talked, sometimes stretching wide like the liquor store Jesus’s, or twisting into complicated shapes to illustrate a point. “God’s always making me look like a genius,” he said after we’d spent some time talking about his work. “I’m actually very mediocre but God is always making me look like a genius.”

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Twitchell’s parents began their marriage with divergent views about faith. His mother, Doris, attended a Methodist church, where she was superintendent of the Sunday school and ensured that Twitchell and his younger sister, Gloria, got a decent religious education. “She taught me at the beginning that we could talk to God and pray to God, and it was always very real to me,” Twitchell recalled. Twitchell’s father was “not a Christian at all.” Shortly after Twitchell was born, his father joined the military and was wounded by shrapnel at the Battle of the Bulge. Upon returning home, he was hospitalized with acute tuberculosis, contracted on the battlefield. Quarantined for more than two years, the elder Mr. Twitchell experienced a moment of near-death during an operation. Twitchell recalled the story:

He was falling down a shaft. And all around the shaft was black but shiny with jewels. And it was scary, and down below it was a pig, and it was the most evil creature. And it was pulling him down, and he could see up the shaft and see his friends. And they were just talking and couldn’t help him at all. Mom and all of our friends at church were praying, and he came back to life. And that was the beginning of his trail to God. He became a churchgoer and went to the same church Mom did. He thanked God he was wounded and his strength was taken away. It made him realize we have no strength and friends, but Christ is our only friend and also our only strength.

Twitchell’s chief memory of this episode is waving at his father’s upper-story hospital window during months of quarantine: “He threw candies to us out the window.” Telling this story seems to remind him of other times he has regarded his father from below. “Dad was short but I always looked up at him because I was a little kid. There’s something important to me in the way that we look up at people. When we look up into the eyes of someone grand, it at once intimidates us but also gives us inspiration.” Twitchell would experience this same feeling again in European cathedrals, which inspired the monumentality of his painting.

“I remember before going to kindergarten I would draw things,” Twitchell says. “I always drew figures with whatever I could find around the house. People throwing snowballs at each other and sliding down the hill, the world I knew.” Teachers quickly recognized Twitchell’s draftsmanship, and by the time he graduated high school (in Lansing, where his parents had moved to be near higher quality schools) he had ambitions to become a commercial artist. He landed a commercial art job in Lansing but decided to join a friend enlisting in the military when he discovered he could serve as an Air Force illustrator. He was assigned first to paint Plexiglas screens used to plot the position of aircraft at navigation centers. He put in for a transfer and was sent to an air base at South Ruislip just west of London, where he illustrated briefing papers used by generals to inform visiting dignitaries about missile operations and other “extremely hush-hush stuff.” In his spare time he explored London museums and visited cathedrals and other monuments.

Twitchell says that from the time he was a child, he dreamed of living in Los Angeles. “Back then, television was magical.” He remembers watching the show Dragnet. “When the narrator said, ‘This is the city of Los Angeles, California,’ that did it for me. I knew that’s where I’d eventually go.” Following his discharge, Twitchell lived briefly in Atlanta, where he got a job as a department store display artist. When an uncle living in Los Angeles offered a place to stay while Twitchell attended college on the GI bill, he moved and enrolled first at a community college, then at Cal State LA, where he graduated with an art degree in 1972. He received his Masters in Fine Art from Otis in 1977.

“It was the hippie days,” Twitchell says, and it didn’t take long for military discipline and whatever remained of Twitchell’s childhood religious observance to wear off. In addition to the drugs and Scientology, “I was into some weird things, like pyramid power and domes, and I had these far left leanings.” Twitchell sat through his teachers’ lessons in then-fashionable abstract expressionist art, “throw[ing] around paint” for class projects. But even as he busied himself discarding his Midwest upbringing in his recreational life, some remnant from the farm and from his military work persisted in his approach to painting. From the moment he entered art school, his teachers’ and fellow students’ embrace of abstraction and conceptualism struck him as elitist and anti-religious. “It was a celebration of the universe as accident,” he says. When a classmate offered to let Twitchell use one side of the house she’d grown up in near downtown LA as a blank canvas, Twitchell knew exactly what he wanted to do.

“I painted this two-story portrait of Steve McQueen,” a populist, photographically realist image intended as an implicit rebuke of everything Twitchell had been taught in school. He used a single color, various shades of blue, “because I didn’t feel comfortable doing too many colors—I’d blow it.” The blue gave the image a ghostly quality that caught viewers’ attention. Press coverage followed, and “all of a sudden people were calling me on the phone interviewing me about this. I thought I was the next Andy Warhol.” More than that, after years of apprenticeship, Twitchell had stumbled upon his signature style. “I thought, ‘I’m home. This is it. This is me. This is finally who I am.’ It was 1971. I was twenty-seven or twenty-eight. I haven’t looked back since.”

twitchell mcqueen

A Hollywood makeup artist named Steve Clensos read about Twitchell and hired him to paint the side of a building he owned in East Hollywood. Twitchell painted a forty-five-foot-wide image of character actor Strother Martin against a black background, hair undulating from his head like strands of spaghetti. (The owner was delighted with the choice. He’d worked with Strother as a makeup man.) Twitchell chose images of actors because they were known and because they resonated with his childhood love of television and movies. “They were in southern California and that was their reality, and Michigan was mine. That was a place of dreams, Los Angeles.”

More commissions followed, some from private building owners, some from government agencies. At the time, Los Angeles was becoming known as a center of mural art, partly because of Twitchell’s work, and that of a Venice Beach-based mural collective called the LA Fine Arts Squad, and partly as a result of the Chicano Art Movement’s vigorous embrace of outdoor art in all its forms. It was a heady time to be a muralist. There were few city regulations governing mural art, and building owners were eager for the attention and prestige murals attracted.

Soon after Twitchell finished the Strother Martin mural, a downtown wedding boutique owner who’d happened to see it offered Twitchell $3,600 to cover one side of his store with a depiction of a bride and groom. Twitchell spent two years on the project, with the store owner, Carlos Ortiz, posing as the groom (the bride was an amalgam of Ortiz’s girlfriend at the time, a subsequent girlfriend of Ortiz’s, and Twitchell’s first wife, Susan) and buying all of Twitchell’s supplies, including scaffolding and what Twitchell described as a hanging “spider stage,” from which he applied paint to the upper reaches of the five-story image. Twitchell worked at night by the illumination of two 100-watt light bulbs, because he enjoyed the quiet and because he didn’t have to pay to park. “You’d see someone going by at two am singing opera,” he recalls. “The sun would come up in the east off to my left, and it was time for me to wrap up because I had to get out before the parking lot people knew I was there.”

Twitchell has supported himself with his art throughout his career, never lacking for work or for patrons willing to fund both his murals and, when needed, their restoration. And yet, commercial success and popular appeal have not always been accompanied by critical recognition. Three years ago, Pacific Standard Time, a comprehensive survey exhibition of Los Angeles art history staged by the Getty Center and a wide array of other regional museums and galleries, “completely ignored me,” Twitchell says. “I didn’t care.” Twitchell is not represented by a gallery. His work is rarely shown in exhibits and he has not been the subject of a book-length critical study. Though Isabel Rojas-Williams and others familiar with LA’s mural scene praise Twitchell’s generosity toward younger artists, he keeps a certain distance from other muralists of his generation, especially those hailing from LA’s Chicano Art Movement. Twitchell told a story of being invited to a party at the home of comedian Cheech Marin, who owns one of the world’s largest private collections of Chicano art. “I thought, ‘Why do I want to go to his house? He snubs anything that’s not Chicano.’ We went in there and a whole bunch of art people are sitting down and…Cheech looked up at me and said ‘Kent Twitchell!’ And he hugged me, and he said, ‘My God, Kent Twitchell. I can’t believe you came. You’re my hero.’ And he told all these stories about how much he loved me. You never know who’s out there when you do public art. Because there are people who hate me, too.”

In part, this chilly relationship with swaths of the art world can be explained by Twitchell’s ongoing rejection of the major post-war trends. During our conversations, he returned again and again to long-ago arguments with art school professors and students over their elitism and knee-jerk contempt for religious faith. (One of those stories ended with the words, “This is a sham…and I’m not going with the program.”) He is even more withering toward the art world’s current infatuation with street art, as memorialized in a landmark 2011 exhibit, Art in the Streets, at Los Angeles’s Museum of Contemporary Art. “They’re absolute phonies,” he says of street-art stars such as Banksy and Shepard Fairey. “There’s as much connection with real art as Thomas Kinkade, except Thomas Kinkade actually knew how to paint.”

The lines in this debate might be more sharply drawn than necessary, but it’s undeniable that Twitchell’s art—public-spirited, representational, addressing religious themes, and by virtue of its medium unavailable for sale in today’s high-rolling art market—goes against just about every artistic trend of the years Twitchell has been at work. When I met him in his studio, one of the longest, most engaging stories he told, uncharacteristically free of digression, was of the origin of the 111th Street Jesus mural, the one on the side of the death-alley liquor store. The mural, he said, owed its existence to a local Catholic priest named Father Dennis Berry, who recruited Twitchell to help beautify the neighborhood with the help of some local youths who had recently left the gang life. Twitchell, seeking to paint “a tough Jesus” in tune with the neighborhood, modeled his mural on a young man who had played Jesus in a recent Passion play at Berry’s parish, the Church of the Ascension on 112th Street.

Working for free with two former gang members whom he taught how to paint, Twitchell applied the mural around bullet holes in the liquor store wall, beside a phone booth where gang members negotiated “four to five drug deals a day.” When the mural was done, “They had a parade where the priest came and blessed the mural. The people from the neighborhood came and put out tables and food and everyone was eating and the whole neighborhood was there—and Jesus with his arms outstretched. The parade went all through the neighborhood and people came out of their houses and joined, and it ended at the mural. And I was just a participant at that point.” He rubbed his beard, savoring the memory. “You always want that to happen. You hope you’re uplifting. You don’t always know if you are.”

***

As it happens, I grew up with Kent Twitchell’s work, without knowing it was his until I began writing this story. I was born and raised in Los Angeles, and several of Twitchell’s murals, in particular Six Los Angeles Artists and Harbor Freeway Overture, have loomed large in my visual memory since childhood and young adulthood. The ubiquity of murals is one of the many things I love about LA, and I was delighted to discover that some of my favorite murals were painted by a man dedicated to communicating divine truth through monumental art. I was delighted because I never knew the images arose from a religious impulse—and I think religious art works best that way. I agree with Twitchell that the best art inculcates mysterious feelings of awe in the viewer (though, unlike Twitchell, I experience awe in the presence of abstract and conceptual art just as often as in representational works). I don’t know enough about modern-day Christian music or film to evaluate Mark Joseph’s lament that they are often sub-par. What I do know is that Twitchell’s art was probably at work on me, without my knowing it, in imperceptible but nevertheless significant ways, as I found my own way toward faith over the course of my life. For all his irascibility and tetchy relationship with his fellow artists, Twitchell clearly has managed to create work of lasting importance. If he ever truly has wondered whether his art is uplifting, I can assure him it is.

The day I visited his studio, I took time before and after our meeting to drive past a few of his murals, including Six Los Angeles Artists, which I remember passing countless times as a child on the way to and from the Long Beach office where my parents worked. I parked in front of the mural on a sunny morning just before lunchtime and got out, staring up at the figures who had seemed so mysterious and otherworldly to my young eyes all those years ago. A homeless man calling himself Donald approached and asked if I had a light for a cigarette stub he held in his hand. I asked him if he liked the mural. “I graffitied it,” he replied. “When I was thirteen years old. I got arrested, all that bullshit. I still like it. Who are these people, anyway?” I told him they were artists. “Artists!” he exclaimed. “I never knew.” After sharing some stories about people he’d punched in the face over the years, and proudly showing me his new medical marijuana ID card, Donald took another look at the mural. “He’s a professional, right?” he asked of Twitchell. I said he was. “And I was a criminal,” Donald said sadly. We exchanged goodbyes and he continued on his way.

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After a fruitless search through parking lots and behind chain link fences, I learned from some guys in a bar on Vermont Avenue that the 111th Street Jesus mural had been painted over by a new property owner. The guys directed me to the liquor store, which appeared abandoned. I found the wall where the mural had been and gazed at it while two boys waiting for their parents to finish loading baskets of laundry into the back of a dented Ford Expedition pelted the wall with pieces of rotten fruit fallen from a nearby tree. I tried, without much success, to envision the joyful neighborhood celebration staged at the mural’s completion. The scene was depressing, and I walked back to my car.

By the time I left Twitchell’s studio, it was dark. I drove to Broadway, downtown, and parked illegally in the lot adjacent to the five-story Bride and Groom mural. Graffiti covered the bottom portion, but the upper reaches were clear, and I pictured Twitchell hanging from the side of the building on his spider stage, his two 100-watt bulbs glowing wanly in the late night dark. Much of the building has been converted into apartments, and out of one window came the sounds of a domestic dispute. A woman’s voice rose above the downtown din: “Stop whining! No! Where’s your fucking stroller?” The bride and groom, like all of Twitchell’s painted figures, do not radiate happiness or any other strong emotion. But I took comfort from the fact that they were still there, still together amid the changes and chances of the city.

My last stop of the night, after a furtive walk up a freeway entrance ramp to get as close as possible to the towering musicians of Harbor Freeway Overture, was Twitchell’s first mural, the two-story blue Steve McQueen he painted all those years ago, in his days of marijuana and pyramid power. Miraculously, the mural is still there and wholly untouched, though the building was long ago converted into apartments and part of the ground floor now houses a corner market plastered with ads for Mexican wire transfer services and the popular game show 100 Latinos Dijeron. A satellite dish sprouts from McQueen’s right shoulder, but otherwise the actor remains unblemished, his ghostly, iconic face staring with movie-still perfection at the cars cruising up and down Union Avenue pumping Norteño music. I could hear a suspenseful movie playing inside one apartment, children’s voices in another. Just inside the brightly lit market doorway were bins filled with bananas, watermelons, and bags of Lays potato chips.

This part of Los Angeles, Pico-Union, has changed utterly from the days when Twitchell painted McQueen, becoming a predominantly El Salvadoran neighborhood, home to waves of refugees from that country’s brutal civil war, as well as a transnational street gang called Mara Salvatrucha. What struck me as I gazed at the mural was how it has persisted through all the changes. The same is true of all of Twitchell’s murals, each enduring in a city now vastly different from the one he encountered as a young, star-struck, newly discharged soldier in the frothy 1960s. Even the 111th Street Jesus, I decided, was still there, just obscured by a layer of white paint.

I thought of something Twitchell had told me just before I left his studio. We were standing near the small kitchen, which Twitchell keeps stocked with food, vitamins, Yerba Mate tea, a microwave and toaster oven, and a washer and dryer, because “I spend eighty percent of my time here.” I asked him about Los Angeles, why he came to the city and why he couldn’t imagine living anywhere else. He replied: “In the Midwest, you get this rep for your lifetime. There’s something about LA that’s the opposite of that. Maybe that’s why creative people tend to come here. We forgive each other for failing and looking foolish. We forgive them by doing something good.”

twitchell bride and groom

Crystal Ball

My cover story for the latest issue of The American Scholar shows how the death and rebirth of Orange County’s Crystal Cathedral (which went bankrupt and now is being transformed by the county’s surging Catholic diocese into a regional worship and cultural center) signals a wider transformation in the fast-changing landscape of American spirituality.

The Future of (Asian-American) Christianity

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I report in today’s Orange County Register on next-generation Asian-American churches in Southern California influencing the world. Goodbye, mono-lingual, hierarchical, tradition-minded immigrant churches. Hello, multi-ethnic, multi-media, service-oriented worship. Coming soon to your city, too.

Walking Mural

Forty years ago four kids from East L.A. forever changed the course of Chicano art. I tell the story of the 1970s Chicano art collective Asco in the latest Los Angeles Review of Books. Glam rock movie stills, fake crime scenes, portable murals, dancing tanks–Asco’s art was avant-garde before there was a Chicano avant-garde. At last the group is getting its due with recent museum retrospectives (LACMA) and magazine covers (ArtForum). Asco’s legacy is complicated. The group invigorated an ethnic art movement at risk of creative inertia. But they were pied pipers, too, inspiring a new generation of young Chicano artists to pursue art world fame–not the political activism once considered Chicano art’s primary goal.

Abrazos

“Jesus says what’s on God’s mind: Your truth is my truth. You are exactly what God had in mind when God made you. You watch a person on the margins inhabit that truth and no bullet can touch it.”  Fr. Greg Boyle said those words a few days ago to an audience of more than 300 people at a Santa Clara University workshop I attended on mentoring troubled young people. Boyle is a Jesuit priest and the founder of Homeboy Industries in Los Angeles, America’s largest gang-prevention organization. Homeboy serves 15,000 gang members and former gang members per year, offering jobs (at a bakery, a silkscreening business, a cafe, a solar-panel installation company and other homespun enterprises), counseling, education, parenting classes and free laser tattoo removal. I met Boyle when I edited a story he told in Guideposts magazine last year. I visited Homeboy Industries then and later went back to write about a Homeboy success story, a former gang member-turned-artist named Fabian Debora. What strikes me about Boyle is that even as he has become famous–his memoir Tattoos on the Heart was a bestseller and he speaks around the country and appears on television–he remains grounded in the belief that there is no distance between the healer and the healed, between the priest and the gang member. Boyle’s aim is not just jobs or better lives for gang members. It’s persuading everyone, everywhere that the love of God is best expressed between people as kinship. “We’ve forgotten we belong to each other,” Boyle said at the mentoring workshop. “We have to move away from judgment that creates a high moral distance.”

Boyle told a story to illustrate this point. (He always tells stories. Every time I’ve heard him speak he devotes three-quarters of his talk to rambling, hilarious, piercing anecdotes about gang members.) The story was about a former gang member named Mario who came to work at Homeboy. Mario was a sweet, reedy kid with tattoos on every inch of his body except an oval around his eyes, nose and mouth. Boyle was invited to speak at his alma mater, Gonzaga University in Spokane, Washington. He took Mario and another homeboy with him, as he often does on trips, for company and to give gang members a chance to see other parts of the world. One thousand people came to the talk. At the end Boyle invited questions. A student stood up. “My question is for Mario,” she said. Mario, quaking, stepped to the podium. “You said when Fr. Boyle introduced you that you have a son and daughter about to become teenagers,” the student said. “My question is, what advice do you have for them as they head into adolescence?” Mario was quiet. “I want to tell them,” he choked, “I don’t want them to turn out like me.” He began crying. The student didn’t sit down. “Why don’t you want your kids to be like you?” she asked Mario. “You seem kind to me, and gentle and wise. I hope your kids do turn out to be like you.” Mario stared in astonishment. Then, as he buried his face in his hands to hide his tears, the entire audience rose to its feet and applauded. “Mario stands there with his face in his hands, reconciled to himself,” Boyle told the workshop audience. “He’s amazed at 1,000 people doing this for him. In that moment, in that room there was kinship.”

The Holy City

Cardus, a Toronto-based think tank, likes artist Fabian Debora, subject of a profile I wrote in the current issue of Image:

A Spade is Not a Spade: The Art of Fabian Debora and the Mystery of Los Angeles” is, as the title implies, about roughly a baker’s dozen different things at once. Principally, it is about the Los Angeles artist Fabian Debora’s spiritual evolution from hardened street gang member to (locally) celebrated painter. It is also, with a bit of a sideways slide, about a Jesuit priest named Father Greg Boyle who runs an initiative called Homeboy Industries that helps the Debora’s of the world escape the projects, the violence, the drugs, the normalization of murder, intrinsic to gang life.

Then it becomes something else again: a meditation on neighborhood, and on memories attached to the places where we grow up, even when those places feature children who must be taught to sleep in “bullet proof” postures to avoid being killed in their beds by random shootings in the hallway or the squalid apartment next door.

That would be enough for even the most voracious reader, but Hinch goes further yet by tying Debora’s redemption, “Father G’s” saving work, and sense of home that creates homeboys up to the underappreciated, if not unknown, truth that the Los Angeles of all our stereotypes is now among the most fertile spiritual soil in the world.

The immigration that meets the racism that feeds the poverty that fosters the eradication of community that begets the violence is, simultaneously, the source of a 21st Century version of the Great Awakening.

“Newcomers—almost four and a half million, a third from Asia, more than half from Mexico and Latin America—have created in Los Angeles a massive religious infrastructure similar to the network of Catholic parishes and Jewish synagogues that once anchored life in immigrant landing zones such as New York’s Lower East Side and South Boston,” Hinch writes.

“More Catholics pack more parishes and run more schools in southern California today than in any archdiocese in the nation. Mosques in Orange County operate mortuaries and schools, furnish reception rooms for weddings and other community activities. In Hacienda Heights . . . the largest Buddhist temple in the western hemisphere organizes summer camps, teaches Cantonese, produces radio and television broadcasts, raises money for disabled children, operates a printing press and runs and art gallery.”

This is not just interesting information. It is inherently newsworthy of its potential to make all of us new. As we all know, what starts in California, sooner or later starts everywhere else as well. Yet how much room is given to it in a so-called mainstream media obsessed with every burp and tickle in, say, American electoral primaries that will be meaningless in a matter of weeks? None, or next to it.

Contested Visions

Only three days left to catch “Contested Visions in the Spanish Colonial World,” a stunning exhibit at the Los Angeles County Museum of Art. Four hundred years of art produced in the Spanish-speaking Americas. What fascinates me is how the exhibit highlights both the resilience of native artistic traditions in the face of overwhelming Christianization, and also the adaptability of Catholicism in new lands. A parallel to pressures and adaptations faced by many immigrants in America today. Excellent review by Daniela Bleichmar in the 2/9/12 New York Review of Books.

God, gangs and art in L.A.

Two new publications this month, both about the work of Fabian Debora, a former East L.A. gang member turned painter and muralist. “Pay Me No Mind” appears in the latest issue of Boom: A Journal of California (an excellent and welcome addition to the literature of California). “A Spade is Not a Spade” appears in the latest issue of Image.