Abstract

This paper will work to analyze the style, visual content, and biblical text present in the art of Evangelical Reverend Howard Finster (1916-2001) in relationship to the theological constructs he worked within. Howard Finster’s folk art constructions communicate the Evangelical understanding of salvation as being accessible through communion with the Holy Spirit. Through his use of pop culture icons and found materials, Finster engrained this worldview into the very material construction of his work with the intention of making his message accessible to the masses. The accessibility of his simplistic folk style played a crucial role in the success of Finster’s work, as much of the content was concerned with violent apocalyptic messages and out of this world visions in which Finster traveled through space and interacted with alien planets. While a majority of the academic work concerning Finster has been focused on his means of production and connection to traditional values, this research explores the contribution of folk style to the content of his visual sermons and the way in which these art works have contributed to the expansion of Evangelical Protestant theology. This paper also analyzes the ways in which his overlapping identities as artist, Reverend, and self-proclaimed prophet have worked to strengthened the reception of his artwork. Through presenting a first person experience of Paradise Garden, Finster’s visionary environment in Summerville, Georgia, and a critical analysis of academic work concerning Finster’s life and art, this paper is a fresh look at the significance of Finster’s work and what its content reflects about the experience of being an Evangelical Protestant in the American south today.

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