The twentieth century can be termed as the “Freudian Century” of thought, mind, and standards.  Sigmund Freud introduced a concept called psychoanalysis in the late nineteenth century. The basic concepts that existed prior to Freud were either Greek or taken from the Bible. Art began to represent objects other than what they are perceived to be, specifically the surrealist form of art. Generally, art represents thoughts and dreams, and for this many different images are invoked, usually directly and sometimes in the form of an impersonal theme or object. A towering building may represent a human penis, or a hat may have connotations that are not specific to this object.

However, the Freudian concept did not have any visible impact on architecture because the concept of living inside a huge penis would be repulsive to most people. Freud was basically responsible for enriching our concept of human behavior to the coherence of reasoning and scientific thought. The electronic vision shows us happenings in every part of the world, but it has diminished our relationship with the world, and a growing lack of concern. Disasters are now considered a contemporary form of art and mostly a disaster is also a form of entertainment.  The images of KGB destroying a free exhibit in a Moscow Park, or the plight of Solzhenitsyn, or book burning by the Nazi Regime have all been seen and endured.  Refugees who have managed to escape to free.

Western countries bring home the realities these horrors. The pain of this is especially heightened for those Christian artists who had survived in Soviet states by making underground religious imagery, some of them willing to live as “non-persons” and sacrificing everything for their art. They cannot understand why there is so little interest in their work in the West, despite the fact that it is usually theoretically and morally better than that produced by the small number of religious artists.

This shortage of Christian artists in the West is an extra enigma, for it would appear that many avenues of development lie open to the gifted person of faith. No imprisonment, death, or destitution awaits him/her here. Only in propaganda art is an image considered slave to ideology, a truth not lost on those who have endured unreal culture. These refugees to the west are perplexed, to find in North American churches the employment of art not so much as embodiment of the truth, which is its role even in the most catechetical art relating to worship art, but as a decorative advertisement for the truth, a delicate but major  difference

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