Who knew it would take an American pope to remind us of the value of art and good taste? | Jason Okundaye
In a surprising turn of events, Pope Leo XIV has emerged as a refreshing figure in the Catholic Church, particularly in the context of contemporary socio-political challenges. As the first pope born in the United States, Leo’s election raised eyebrows and skepticism, especially among those wary of a potential alignment with the far-right MAGA movement. However, upon his ascension, it became clear that Leo XIV was not the conservative figure many had anticipated. Instead, he has embraced progressive values, championing empathy for migrants and marginalized communities. His stance has drawn ire from far-right activists, with critics labeling him as “anti-Trump” and “pro-open borders,” showcasing a stark contrast to the previous pontiff, Pope Francis.
Beyond his political inclinations, Leo XIV has taken on the role of a cultural custodian, advocating for the arts and meaningful work in an age increasingly dominated by artificial intelligence and algorithmic outputs. His approach emphasizes the importance of beauty and creativity, positioning the Church as a patron of the arts. This cultural leadership resonates not only with Catholics but also with a broader audience, highlighting the potential for religious institutions to engage positively with contemporary issues. By promoting artistic expression and meaningful human experiences, Leo XIV is redefining what it means to lead in a modern context, bridging the gap between tradition and innovation. As he continues to navigate the complexities of his role, Pope Leo XIV stands out as a beacon of hope for those seeking a more compassionate and culturally engaged Church.
Anti-AI and pro-beauty, Leo XIV has proved an unlikely custodian of culture – and a patron of meaningful work in a world of algorithmic slop
So, who figured that Pope Leo XIV would end up being kind of cool? Not me. Although as a lapsed Catholic I had little stake in the conclave race, I felt that there was something unglamorous, dare I say godless, about a first-ever supreme pontiff born in the US, let alone one hailing from Chicago, the same city as Hugh Hefner, Hillary Clinton and Kanye West. There were greater apprehensions beyond taste, too. Would this finally be the ordination of the reinvigorated Maga movement after the death of the compassionate Pope Francis? When Leo appeared on the balcony of St Peter’s Basilica wearing the traditional red mozzetta cape eschewed by his predecessor, it was too easy to jump to conclusions.
By the grace of God, the red mozzetta was a red herring. Very quickly, American conservatives went into meltdown over the pope’s patent anti-Maga leanings and his empathy for migrants and marginalised groups – “anti-Trump, anti-Maga, pro-open borders and a total Marxist,”
fumed far-right activist Laura Loomer
. That alone has been a relief. But perhaps even more significantly, Leo has demonstrated the benefits an American bishop of Rome can have for the rest of us, Christian, Catholic or otherwise: that is through his exemplary cultural leadership, and close engagement with the arts.
Jason Okundaye is an assistant newsletter editor and writer at the Guardian. He edits
The Long Wave newsletter
and is the author of
Revolutionary Acts: Love & Brotherhood in Black Gay Britain
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