Recently, the Church History Museum unveiled 150 works of art as part of its exhibition for the 13th International Art Competition. These pieces were chosen from nearly 600 artworks submitted by members of The Church of Jesus Christ of Latter-day Saints around the world.
The theme for this year’s competition explores the gospel invitation to “Lift Up the Hands Which Hang Down,” which comes from Doctrine and Covenants 81:5.
On this episode of the Church News podcast, Church News editor Ryan Jensen talks with artists and individuals responsible for the exhibition and its rich body of work. The exhibit and online gallery showcase artists from more than two dozen countries and highlight some of the many ways Latter-day Saints testify of Jesus Christ and His call to lift and serve.
Listen to this episode of the Church News podcast on Apple Podcasts, Amazon, Spotify, bookshelf PLUS, YouTube or wherever you get podcasts.
Transcript:
Paige Crosland Anderson: I believe that discipleship is very daily. I believe that it’s very step-by-step. It’s lots of little acts, “Let’s see what happens next. Let’s see what happens next.” And I feel like that’s how my testimony has been, where there are times when I’m like, “I don’t know. I don’t feel super secure, but I’m going to keep stepping, I’m going to keep doing these daily things that I know or I believe will pay off.” And so, creating this artwork reinforces that doing things that feel maybe sometimes boring, maybe sometimes ineffective. And I love this idea that we’re presented with lots of little things to do every day. For me, it’s, “How can I make these things meaningful and make them consecrated acts of discipleship?” Because that’s all that I have in front of me that I can just keep in that straight furrow, knowing this is what I’m called to do, this is what’s the work in front of me. And as I do that, I’ll be rewarded with the reassurance that Christ is there and that He’s proud of me and that He knows that these efforts are making a difference.
1:07
Jon Ryan Jensen: This is Jon Ryan Jensen, editor of the Church News. Welcome to the Church News podcast. Today, we are taking you on a journey of connection as we discuss news and events of The Church of Jesus Christ of Latter-day Saints.
On Thursday, April 24, 2025, the Church History Museum unveiled 150 works of art as part of its exhibition for the 13th International Art Competition. These pieces were chosen from nearly 600 works submitted by members of The Church of Jesus Christ of Latter-day Saints around the world. The theme for this year’s contest explores the gospel message of “Lift Up the Hands Which Hang Down,” which is pulled from Doctrine and Covenants 81:5.
Artists from more than two dozen countries portray works of faith from hand-sculpted statues and woven tapestries to oil-painted masterpieces and deftly captured photographs. This rich body of work highlights some of the many ways Latter-day Saints testify of Jesus Christ and His call to lift and serve.
On this episode of the Church News podcast, we hear comments from the exhibit’s opening and talk with artists and individuals responsible for the competition and its displayed works. The artwork will be on display at the free-to-visit Church History Museum to the west of Temple Square in Salt Lake City, Utah, from April 24, 2025, through Jan. 3, 2026.
Those who can’t make it in person can view an online version of the exhibit at history.ChurchofJesusChrist.org. And individuals may vote for two pieces to be named “visitor favorites,” either on that website or in person, by Nov. 30, 2025.
2:45
We start our gallery tour with Laura Paulsen Howe, curator at the Church History Museum, who sets the scene and welcomes visitors to see different ways that artists have visualized what it looks like to them to follow the Lord’s counsel to lift up the hands which hang down.
Laura, first I want to ask if you can just kind of set the scene for us of the 13th International Art Competition of the Church.
3:08
Laura Paulsen Howe: Sure. This is our 13th International Art Competition. We have been holding these events since 1987, and we’re so excited to be in our 13th iteration. We have had art from all over the world submitted so that we can really have people ponder on the theme, “Lift Up the Hands Which Hang Down.” So you’re seeing artists from all over the world sharing their unique perspectives on what it means to lift up the hands which hang down.
For the international art competition, we issue a theme and a call to artists. And so for this show, 584 artists responded to that call. And so, what you’re seeing is 150 pieces on display, juried independently by jurors. We asked to bring their experience to this piece, to the show, and so we’re really excited to be able to have that on display.
4:01
Jon Ryan Jensen: All of this art was created before the Church was collectively studying Doctrine and Covenants, and yet the verse is part of our book of study for this year. Can you maybe share a little bit of what you hope people get out of this, and maybe the consideration of thinking about Church history?
4:17
Laura Paulsen Howe: I love to attend Gospel Doctrine lessons. One reason I love attending church instead of studying on my own is someone who’s in that class might share a perspective that is different than how I felt as I studied the Doctrine and Covenants.
So, we hope what you’re going to attend and see when you’re here are different perspectives, people who might be living in a nation that’s different from where you grew up, who might have different ways of interpreting the world, sharing their own perspective. So really, I hope it broadens and helps expand the way that you think of those scriptures that declare, “Lift up the hands which hang down.”
4:56
Jon Ryan Jensen: I love that thought, because as you’re thinking about being in a Sunday School class, if you looked at these 150 pieces of art and imagined 150 people in a class, and they had these distinct thoughts over them in the thought bubble, but only for one verse. That really shows the diversity of people’s experiences with the gospel.
5:14
Laura Paulsen Howe: Definitely. They’re going to express it from their own experience, from their own perspective, in their own language. They’re going to liken the scriptures unto themselves. And so, you’re going to see that. And really, the diversity of style mimics the diversity of Latter-day Saints themselves.
5:31
Jon Ryan Jensen: Having more than two dozen countries represented in the show allows for diversity of locations. But also, I really loved and wondered if you could share a little bit about maybe the different parts of that scripture that people latched on to.
Were you surprised to see different people gravitate toward a different part of that verse?
5:51
Laura Paulsen Howe: Yeah, I think so. One that is unique in this show is someone thought about the context of that piece, lifting up the hands which hang down. In that section, it’s given to Frederick G. Williams, and he’s being called to lift up the Prophet’s arms. And so actually, there’s a piece by Ki-Woong Park, from South Korea, who thought of that idea of lifting up the arms of the Prophet.
Different people who thought of strengthening the feeble knees. Some thought about when they are feeble and how they’ve been lifted. Some thought about the efforts that the Church has been engaged in to lift the arms of people around the world. Many thought about a ward community wherein you’re going to have people who are simultaneously struggling and strong. And so, all those different ways made me look at the scripture differently and really broadened my understanding of that moment.
6:45
Jon Ryan Jensen: President Nelson has talked a lot during his tenure as President of the Church about building bridges among people of different beliefs. He’s talked about walking arm-in-arm with others to help them along the path as well.
Do you see some of what he is asking Latter-day Saints to do exemplified in these pieces?
7:05
Laura Paulsen Howe: Yeah. I think to really — we invite people to come to the Savior, to understand what they need to be able to come to the Savior and make covenants. We really need to understand people’s perspectives and where they’re coming from, what their culture is bringing. And, so I think that takes effort of Latter-day Saints to listen to people who might have a different experience than them.
Art is a great way to do that. Art provides this little window into all sorts of different cultures, all sorts of different perspectives, and allows us to take a minute and say, “What am I not understanding about this piece? How can I learn a little bit more about this piece? What can I learn from this piece?” And as we seek to learn from each other, art is a great facilitator that will help us to link arms.
7:52
Jon Ryan Jensen: I love that. When you walk through here and you see all of these pieces, how do you describe your testimony, and perhaps the growth of your testimony, in the Savior, when you look at all those depictions of Heavenly Father’s children helping each other?
8:07
Laura Paulsen Howe: All the work that we do to love and serve is done in the similitude of the Savior. And so I love that piece, and it gives me something to shoot for and something to aspire to be. It also helps me think of the ways that I have been lifted by my Savior as well. Seeing all the different perspectives and the different styles helps me remember that art provides a space by which people can see themselves as part of the family of Jesus Christ. Visuals matter, and so being able to have that space to know that they belong, that the Savior loves them, the show always helps me ponder about that.
8:44
Jon Ryan Jensen: While Paulsen Howe is the curator, this competition had a team of five jurors with art history backgrounds to help evaluate the submitted artworks. One juror, James Swensen, is a professor of art history at Brigham Young University. He explained the process and qualifications he used to judge submissions.
Can you describe what your role was with preparing for this exhibit?
9:07
James Swensen: I was one of the jurors for the exhibition.
Jon Ryan Jensen: And what does that entail?
James Swensen: Well, it entails looking at a lot of art. Looking at a lot of art, and it basically started last summer, in which we started to get — all the art started coming in. We started to look at it, started to parse through, make our selections. Then we came back in November, parsed through those again, edited it down. And the result, ultimately, is what you see on the walls.
9:31
Jon Ryan Jensen: I’m really interested to know what that process is like for you, perhaps even before the art starts coming in. You know you’re going to be in the process, you know what the scriptural theme is.
Do you do additional preparation to consider what that scripture means before you even start looking at the art?
9:46
James Swensen: In this case — I had juried before for other exhibitions not connected to the Church museum, and so I’d been through the process once before, but this was different. And you’re right; I did. I looked up the scripture, I didn’t know it off the top of my head, no, but looked it up, and then one of the criterion for this exhibition was how well it fits the theme. So that way, we were looking with the theme almost at every piece, just to see how well it did match and how it resonated with what the theme was, but also what the exhibition would be.
10:18
Jon Ryan Jensen: So ultimately, do you each have a responsibility as jurors to pick a certain quantity, or is that more of a counsel process among you?
James Swensen: Not a quantity. We were never given a certain number to look for, but just: “How well does it fit the theme? How well does it fit what the artist is saying? How good is the art?” I mean, those are some of the criteria that we’re looking for.
10:39
Jon Ryan Jensen: So explain, then, some of those feelings that you had as you started to look at the art.
James Swensen: Well, as the work comes in, especially as we get to see it in person, there’s always a difference when you’re right in front of the piece and you can see what it’s made of, you can see the skill of the artist, the craftsmanship, the tangibility of the thing itself. So it’s really wonderful when the work comes together, because then you actually get to see what these things look like. And it makes so much more sense than it does, obviously, looking through a JPEG or on a computer.
And it’s really exciting because you get to see just all this great work that comes from great artists all across the world and all coming together in one place. And you’re kind of lucky, because you get to see all of it, even the pieces that didn’t make it in. There’s just a lot of great stuff that’s being produced by Latter-day Saints all across the world.
11:29
Jon Ryan Jensen: Someone who teaches art history, I’m interested to know what you felt as you saw the variety of types of art that came in, because it seems like there’s more variety of styles than perhaps in the past.
11:40
James Swensen: There is, everything from photography to sculpture. I mean, you name it, it’s all here. And I think that just really demonstrates not only how there’s LDS artists all across the world, but working in different mediums, finding ways of expressing themselves in a variety of different ways. It’s really exciting. There’s not just painting and sculpture, but you’ve got glasswork, and you’ve got almost everything.
And I think this exhibition is a good example of just the diversity of our artists and the diversity of the styles and skills and mediums in which they work, and serving, and what that means, and how that really is a part of who we are as Latter-day Saints.
12:21
Jon Ryan Jensen: We’ve asked a lot of the artists to share how their personal testimony is either reflected in the art or how their testimony grew from creating the art. And so I’ll ask the same question of you.
Do you find that your testimony is strengthened or changed by looking at the art and hearing their stories?
12:37
James Swensen: Well, just like we can find power and beauty in the scriptures and in hymns, I really believe firmly — I’m obviously partisan — but I believe firmly that we can do this in the visual arts, that it’s one of those ways in which we can express ourselves. We can express how we feel. We can express how we feel about the world. And this just gives an excellent example of how Latter-day Saints all across the world are sharing their testimonies in other ways.
And so, as an observer, as a juror, to be able to see these and be strengthened by what other people are doing, their testimonies. Like this one, right? We all know people who have been sick of cancer, and just a wonderful way of having that be able to touch you and to change your life. You see something like this, and you’re always going to be changed. It always just adds to what you feel, what you know.
13:34
Jon Ryan Jensen: Specifically — and I think you’re alluding to this, but if there’s something specific, I’d love to know — do you find examples of how the Savior is also reaching out to be one of those hands that lifts in this art?
13:51
James Swensen: Yeah. I mean, I think even if we don’t see it, we feel it in our lives — when we say those prayers in need, when we need that intercessory of someone who loves us. That’s what we see demonstrated in so many of these works, that it doesn’t matter what color you are or where you are in the world, that He’s there for us. And I think that’s what’s beautifully on display here in this exhibition.
14:18
Jon Ryan Jensen: Is there anything in particular that you hope people find when they come here?
James Swensen: I hope people come with an open mind and an open heart, because there’s a wide variety, and there’s a lot of work that — it’s not just painting and sculpture, but it’s everything. And it does show just how vital the visual arts can be in expressing who we are as Latter-day Saints, expressing our testimonies and creating. We’re all apprentice creators, and so this just gives us an opportunity to demonstrate just how it really is a vital part of what we do and who we are.
14:56
Jon Ryan Jensen: Artist Claire Forste‘s artwork is titled “I Lift You; You Lift Me.” It is a large watercolor-and-ink painting that showcases a woman carrying another woman on her back, with the same woman being carried by the one she served in a reflection, surrounded by a border of flowers and other natural elements that grow in different seasons of the year. Forste spoke about the meaning behind her painting and the lessons she learned while working on it and a previous entry in a competition.
So, Claire, I would love to hear about the piece that you’ve created and that you’re standing in front of right now.
15:29
Claire Forste: Thank you. It’s called “I Lift You; You Lift Me.” And when I first heard the Church’s theme for this competition, I started thinking about relationships in my life, friends and family that have been there to lift me up when I needed it, and that we’ve gone through enough times and seasons together so that I’ve had opportunities to lift them up as well. Because there are times where you can give more, and times where you can maybe receive more, or in a position where you need more help.
And I believe that that’s our covenantal relationship. And what we have promised to do as followers of Jesus Christ is to take care of one another. And so, I wanted to represent that with two individuals carrying each other, taking turns. And I was inspired by a playing card in how, no matter how you turn it, it’s always face up. And so I wanted to show that reciprocity, that inverse relationship, as well as those times and seasons. With the border, I painted different fruits and flowers that ripen and bloom in different seasons. And so from the top right, it goes from summer to fall, winter, spring and showing that cycle.
16:29
Jon Ryan Jensen: Tell me a little bit about maybe your personal experience with this. How do you feel that doing this exemplifies your own testimony of the Savior, and how has your testimony grown through this process?
Claire Forste: I think it certainly, while painting it, made me reflect on particularly the women in my life that have been these individuals for me, and thought about times where I felt closer to my Savior when I had the opportunity to lift up those that I care about, and that my love for those individuals grew when I had the opportunity to serve them. And so, in both giving and taking, I felt closer to my Savior, Jesus Christ, and painting this gave me an opportunity to reflect on that and have an extra measure of gratitude.
17:23
Jon Ryan Jensen: For individuals who come to the show and they see this, what do you hope, then, that they take away?
Claire Forste: I hope they take away a desire to perhaps be better ministers, to reach out to the people that they care about and let them know how they feel, and to be willing to accept help when they need it, and recognize that the give and take are both important. It’s often, maybe in our culture, much easier to give than it is to receive.
17:56
Jon Ryan Jensen: Is this the first piece that you’ve had?
Claire Forste: No, it’s the second piece that I’ve had in a competition here.
Jon Ryan Jensen: And what was the other one?
Claire Forste: It was a painting of my friend Aarthi, who is a woman that lives in New York City and was a member of the Church and really exemplified the spirit of New York Mormons as I see them. And it was a wonderful experience attending church for the first time in New York City. It was a very multicultural, diverse ward, and I think she really exemplified allowing people not just to be accepted and tolerated or kept on the margins, but put into leadership positions, and this real enthusiasm of not just, “Oh, well you’re welcome to be here,” but “We want you here, we need you here, and we need to learn from you and what you bring to the table.”
Jon Ryan Jensen: So in a way, is she one of the women that you would have thought about?
Claire Forste: Very much so. Very, very much so.
18:47
Jon Ryan Jensen: I love that. What keeps you creating art to demonstrate your testimony?
Claire Forste: There are so many things that are difficult to put into words that are a lot easier to paint. And so I think I often feel more comfortable sharing my testimony and my beliefs through art than perhaps in words. I pray over my paintings. It’s a way for me to also connect and, I think, strengthen my testimony.
19:13
Jon Ryan Jensen: We give the final words of our podcast episode today to artist Paige Crosland Anderson. She had her third work accepted by the Church competition this year, a piece called “Sacred Mending.” The mixed-media art of wood framing windows of acrylic- and oil-painted patterns is reminiscent of quilted vignettes often found on some of her ancestors’ hand-me-down fabric crafts.
Anderson shares that indeed, she found inspiration from this year’s theme in the quilting patterns used by her own grandmother, and how the repetitive process of artwork reminded her of the importance of consistent practice in her own journey to become a disciple of Jesus Christ.
I know this is not your first entry for a piece of art with the Church art competition. Can you talk first about your experience in creating art and how you have come about this unique form of creating it?
20:06
Paige Crosland Anderson: It kind of came when I was trying to form a visual language around genealogy and ancestry when I was in college. I wanted to talk about the ideas of genealogy and ancestry, but I didn’t want to talk about ancestors and certain individuals. And so, I was looking through FamilySearch a lot, I was working on the installation piece, and I was like, “Oh, families are just patterns.”
My grandma’s a quilter, and I was at her house and was looking through quilt books with her one day. And I was like, “Oh, I should just use patterns to describe families.” And so I would paint the pattern in full, I would cover it up with paint, or I would sand it out, to kind of mimic this thing that happens with our family history, where it becomes obscured or lost. And then I would reclaim that pattern by painting back into the painting. And so that kind of layering sanding process came from trying to mimic that genealogy process.
I thought that after I moved away from that theme, after that show, that maybe patterns wouldn’t be as important to me. But then I was launched right into the early motherhood days of diapers, laundry, dishes, just very monotonous and routine, and I found that doing something monotonous that had an end was really cathartic for me. And so I kind of stuck with this form.
And it’s now become just a testament to me in dailyness and that routines matter, that we get glimpses of this bigger picture that we’re part of sometimes, even though usually throughout the day, it just feels like, “I’m praying again. I’m doing the things I’m supposed to be doing again. It just feels very routine.” And then you get moments of these heavenly glimpses.
21:30
Jon Ryan Jensen: I’ve heard you talk before about layering, and your art has such a meticulous nature to it. So, while you’re taking time to create it, can you talk about maybe your personal experience, too, in the vision that you have to have, and then the execution of both pulling back and creating layers?
21:52
Paige Crosland Anderson: Yeah. So, one thing that I really like about my process is that there’s a little bit of serendipity where I just can’t memorize every color that I’m putting underneath every shape, and so I’m painting several layers thick before I sand, and then that kind of reveal process, I’m like, “Oh, that’s kind of working,” or like, “That didn’t go so great.”
And so I like, then, responding to what is uncovered. And that part of it is, I think, it’s energizing for me, but it’s also so reminiscent of just daily living to me, where I’m like — maybe some actions that we take kind of raise up, and you’re like, “Oh, it wasn’t great. We’ll do it again. We’ll do some do-overs.” So there are other things that maybe will surprise you, like some consequence that will play out in a way that’s really beautiful.
And so I like that there’s this real life. It’s almost like real life in microcosm when I’m making a painting, and I love that. I love that it gives me perspective on just how to live a better life, how to be gracious with myself when I make mistakes, that there’s kind of a long view that we can take, that things will kind of eventually evolve and become beautiful if we kind of stay the course.
I really like making work for the Church’s shows because the themes are always so beautiful to me. And so I love really taking the time to ponder what is presented. Often I’m working, I’m trying to make a body of work for a show or something, and so I’m pumping out a lot of paintings. But for this, I’m making one piece for one purpose. And so I feel like I get to be a little bit more meditative in the way that I approach the theme and how I do that.
So in this piece, for example, I use specific quilt patterns that I feel like would reinforce the theme. So this one’s hands all around, so there’s hands everywhere to lift. Or this one here and here is called “Jacob’s Ladder,” and I’m thinking about this bridge building between heaven and earth that we engage in when we are strengthening those around us. And so, getting to put in those little Easter eggs, almost, for people who know, I think, is really fun in a way that I get to intentionally express the theme.
23:38
Jon Ryan Jensen: And you are — I’m watching you look at the painting, and you see exactly what that is, but in a way, it is still abstract, too, so some people might not see that at all. Do you get feedback from people saying, “Oh, I could see this,” and you didn’t have that intent at all?
23:52
Paige Crosland Anderson: Totally. And that’s what I love about art, is it creates these conversations. And one reason that I love abstract art is because I’m presenting almost like a stage, and you get to have an experience with this, or you get to interact. I don’t feel like it’s very prescriptive, unlike, “I would like you to look at a picture of someone praying and reflect on your experience praying.” Maybe, but I say I’m going to give you an experience of praying, doing the same thing over and over and over again. And there’s surprises that happen, and there’s monotony that happens, and there’s disappointment that happens, and there’s silence that happens.
And that experiential representation, I think, can be powerful and can be another avenue, which is why I love being part of a show like this, is that there’s so many visual representations of the same theme. It’s just like there’s so many conduits for the Spirit to touch you. There’s so many different languages that we speak, and so having so many different visual languages, I think, really reinforces this idea that God will speak to you in your language.
24:48
Jon Ryan Jensen: I want to lean in on that motherhood theme you talked about at the beginning, that when you were starting this, you were in early motherhood.
As your children have grown and you’ve grown as a mother and an individual, have you felt that the way you depict the art has changed?
25:03
Paige Crosland Anderson: You know, my style hasn’t changed so much, and my approach hasn’t changed so much, and also mothering hasn’t changed. I hope that I’m a better mother. But what I have found is that just the individual — I keep using the word “daily,” but it’s just quotidian, it’s monotonous, it’s relentless. That part of motherhood doesn’t change.
I always thought, “Once all my kids can do their buckles in the car, that’ll feel like a big win.” Yes, it does. But also, there’s other challenges that are presented as your kids grow. I’m sure you know this; you’re nodding like you have kids. And so it almost doubles down to me this idea that we just have to keep doing what we know we’re supposed to do. I try and be steady. I continue to practice patience. I continue to practice just availability to my kids. And those things, I think, are always going to be challenging. My patience is now not, “How long does it take to put your shoes on?” It’s “How many times do I have to answer this question about this thing?”
And so, I think we get practice doing these things, and then it’s beautiful. It’s beautiful to see how it plays out as our kids grow. I used to love this way of working a lot because it was very concrete. My kids are like, “Mom, when can we go do X?” I’m like, “Uh, I’ve got to paint 35 more triangles.” And it was a very easy thing for them to see tick by in terms of time and progress. I now have bigger stretches of time where I get to work, and so I’m not held to that same kind of clock by my kids.
But that important thing that I’ve learned of just — you use the time you have, you put in the effort when you can. I still feel like that’s how I mother. I still feel like that’s what my kids need from me, is just steadiness. And this work has taught me steadiness and it’s taught me — I think it’s given me consistency in the way that I mother and taught me that that consistency does pay off.
26:50
Jon Ryan Jensen: So you shared the big picture of your style. You’ve shared some of the background of this particular piece. I would really love to hear how the creation of this kind of art has helped your testimony or affected the growth of your testimony in Jesus Christ.
27:05
Paige Crosland Anderson: This is touching on what I spoke about, but I believe that discipleship is very daily. I believe that it’s very step-by-step. It’s lots of little acts. We read in the New Testament there’s these bigger miracles that Jesus has. But if you look at the disciples, they’re following step-by-step behind Jesus Christ, and like, “Let’s see what happens next. Let’s see what happens next.” And I feel like that’s how my testimony has been, where there are times when I’m like, “I don’t know. I don’t feel super secure, but I’m going to keep stepping. I’m going to keep doing these daily things that I know or I believe will pay off.” And I’ve had experiences where they do pay off.
And so, creating this artwork reinforces that knowledge to me, that doing things that feel maybe sometimes boring, maybe sometimes ineffective, maybe sometimes just because it’s a habit, they actually pay off. There’s actually spiritual dividends and testimony dividends that pay off by just kind of staying the course. This pattern here is called “straight furrows.”
Jon Ryan Jensen: You’ve got the same thing on the far left and far right, yeah.
Paige Crosland Anderson: These straight lines. And I just think about “stay the course.” There’s a scripture of Ecclesiastes — sorry — that’s become a personal mantra for me. And it’s: “Whatsoever thy hand findeth to do, do it with thy might” (Ecclesiastes 9:10). And I love this idea that we’re presented with lots of little things to do every day. For me, it’s brushing my kids’ hair, it’s making lunches. It’s like, “How can I make these things meaningful and make them consecrated acts of discipleship?”
Because that’s all that I have in front of me. But I can just keep in that straight furrow knowing, “This is what I’m called to do. This is what’s the work in front of me.” And as I do that, I’ll be rewarded with the reassurance that Christ is there and that He’s proud of me and that He knows that these efforts are making a difference.
28:59
Jon Ryan Jensen: Thank you for listening to the Church News podcast. I’m your host, Church News editor Jon Ryan Jensen. I hope you learned something today about The Church of Jesus Christ of Latter-day Saints and had your faith in the Savior increase by looking through the Church News window as a living record of the Restoration. Please subscribe, rate and review this podcast so it can be accessible to more people. And if you enjoyed the messages we shared today, please share the podcast with others. Thanks to our guests; to my producer, KellieAnn Halvorsen; and to others who make this podcast possible. Join us every week for a new episode. Find us on your favorite podcasting channels or with other news and updates about the Church on TheChurchNews.com or on the Church News app.
