The divisions that mark my subject are three. The first is that point where the world begins--where it appears from out of the mystery of non-being. The second lies somewhere between its progeny and its future--the times between beginnings and ends where we, the beneficiaries of our being-here, come together to sing a celebration of the wonder that it happened at all, and then intone the fear of its ending. The third division is a speculation on ends--our own and the ending of the world. I use these divisions to locate a something that comes from nothing onto a historical tradition that imposes a value on the progression of that something, and so requires a judgment on all that has passed. I first discuss these through religious attempts to invest life and history with purpose--for they form the major explanatory traditions of Western culture and are a thematic source of much of its greatest art. I continue with an art-critical approach where themes of process and purpose are located in artworks through their stylistic histories and ambitions. I indicate how present art, when open to reconstitute such themes, could change the nature of today's efforts to give art polemical purposes, and so provide new reasons for its making. I conclude with some stories, unevenly biographical, partly fictional, which I offer as parables for the developed themes and their transformations. This last aim is to elucidate a view of art as providing specific symbols for a cosmology of beginning, living, and ending.

The divisions that mark my subject are three. The first is that point where the world begins--where it appears from out of the mystery of non-being. The second lies somewhere between its progeny and its future--the times between beginnings and ends where we, the beneficiaries of our being-here, come together to sing a celebration of the wonder that it happened at all, and then intone the fear of its ending. The third division is a speculation on ends--our own and the ending of the world.I use these divisions to locate a something that comes from nothing onto a historical tradition that imposes a value on the progression of that something, and so requires a judgment on all that has passed. I first discuss these through religious attempts to invest life and history with purpose--for they form the major explanatory traditions of Western culture and are a thematic source of much of its greatest art. I continue with an art-critical approach where themes of process and purpose are located in artworks through their stylistic histories and ambitions. I indicate how present art, when open to reconstitute such themes, could change the nature of today's efforts to give art polemical purposes, and so provide new reasons for its making. I conclude with some stories, unevenly biographical, partly fictional, which I offer as parables for the developed themes and their transformations. This last aim is to elucidate a view of art as providing specific symbols for a cosmology of beginning, living, and ending.