Immersion (Piss Christ) is a 1987 photograph by the American artist and photographer Andres Serrano. It depicts a small plastic crucifix submerged in a small glass tank of the artist's urine. The piece was a winner of the Southeastern Center for Contemporary Art's "Awards in the Visual Arts" competition, [1] which was sponsored in part by the National Endowment for the Arts, a United States Government agency that offers support and funding for artistic projects.
The work generated much controversy based on assertions that it was blasphemous. Serrano said of the controversy: "I had no idea Piss Christ would get the attention it did, since I meant neither blasphemy nor offense by it. I've been a Catholic all my life, so I am a follower of Christ." [2]
The photograph is of a small plastic crucifix submerged in what appears to be an orange liquid. The artist described the substance as his own urine in a glass. [3] [4] The photograph was one of a series of photographs that Serrano had made that involved classical statuettes submerged in various fluids—milk, blood, and urine. [5] It followed two years after Serrano's 1985 work, Blood Cross . The full title of the work is Immersion (Piss Christ). [6] [7] The photograph is a 60-by-40-inch (150 by 100 cm) Cibachrome print. It is glossy, and its colors are deeply saturated. The presentation is that of a golden, rosy medium, including a constellation of tiny bubbles. Without Serrano specifying the substance to be urine and without the artwork title referring to urine by another name, the viewer would not necessarily be able to differentiate between the stated medium of urine and a medium of similar appearances, such as amber or polyurethane. [8]
Serrano has not ascribed overtly political content to Piss Christ and related artworks, stressing their ambiguity. He has also said that while this work is not intended to denounce religion, it alludes to the recent trend of commercializing or cheapening Christian icons in contemporary culture. [9] Subsequently, he has explicitly rejected the assertion that he was motivated by blasphemy, saying instead that it was intended as a serious work of Christian art. He said, "What it symbolizes is the way Christ died: the blood came out of him but so did the piss and the shit. Maybe if Piss Christ upsets you, it's because it gives some sense of what the crucifixion actually was like...I was born and raised a Catholic and I've been a Christian all my life." [10]
The art critic Lucy R. Lippard has presented a constructive case for the formal value of Serrano's Piss Christ, which she characterizes as mysterious and beautiful. [8] She writes that the work is "a darkly beautiful photographic image… the small wood and plastic crucifix becomes virtually monumental as it floats, photographically enlarged, in a deep rosy glow that is both ominous and glorious." [11] Lippard suggests that the formal values of the image can be regarded separately from other meanings. [12]
In 1987, Serrano's Piss Christ was exhibited at the Stux Gallery in New York and was favorably received. [13] The piece later caused a scandal when it was exhibited in 1989, with detractors, including United States Senators Al D'Amato and Jesse Helms, outraged that Serrano received $15,000 for the work, and $5,000 in 1986 [14] from the taxpayer-funded National Endowment for the Arts. Serrano received death threats and hate mail, and he lost grants due to the controversy. [15] Others alleged that the government funding of Piss Christ violated the separation of church and state. [16] [17] The NEA's budget was cut. [18]
Sister Wendy Beckett, an art historian and Catholic nun, stated in a television interview with Bill Moyers that she regarded the work as not blasphemous but a statement on "what we are doing to Christ." [19] Beckett said that she was tempted to say that Piss Christ might be "comforting art" which she defined as art that was easy to have an opinion and react to. [20] She said, " ... they're not challenged in the slightest. Ninety percent of them think it's blasphemous, and few like me think, well, it might not be. It might be a rather ham-fisted attempt, to preach about the need to reverence the Crucifix. Not a very gifted young man but he's trying his best." [20] "Real art," she continued, "makes demands." [20]
During a retrospective of Serrano's work at the National Gallery of Victoria (NGV) in 1997, the then Catholic Archbishop of Melbourne, George Pell, sought an injunction from the Supreme Court of Victoria to restrain the National Gallery of Victoria from publicly displaying Piss Christ, which was not granted. Some days later, one patron attempted to remove the work from the gallery wall, and two teenagers later attacked it with a hammer. [16] Gallery officials reported receiving death threats in response to Piss Christ. [21] NGV Director Timothy Potts cancelled the show, allegedly out of concern for a Rembrandt exhibition that was also on display at the time. [16] Supporters argued that the controversy over Piss Christ is an issue of artistic freedom and freedom of speech. [21]
Piss Christ was included in "Down by Law", a "show within a show" on identity politics and disobedience that formed part of the 2006 Whitney Biennial. The British TV documentary Damned in the U.S.A., first shown by Channel 4 in its Without Walls arts series in 1991, explored the controversy surrounding Piss Christ, and interviewed Serrano about the work.
On April 17, 2011, a print of Piss Christ was vandalized "beyond repair" by Christian protesters while on display during the Je crois aux miracles (I believe in miracles) exhibition at the Collection Lambert, a contemporary art museum in Avignon, France. [22] [23] Serrano's photo The Church was similarly vandalized in the attack.
Beginning September 27, 2012, Piss Christ was on display at the Edward Tyler Nahem gallery in New York, at the Serrano show Body and Spirit. [24] Religious groups and some lawmakers called for President Barack Obama to denounce the artwork, comparing it to the anti-Islamic film Innocence of Muslims that the White House had condemned earlier that month. [25]
On October 14, 2022, Piss Christ was sold at a Sotheby's auction in London, UK for £130,000 (USD $145,162).
On June 23, 2023, Andres Serrano was included among a group of artists invited to meet with Pope Francis in the Sistine Chapel as part of an effort to "broaden out the engagement of the church with artists" and to proclaim the church's commitment to supporting art that serves "to waken us up, call us to a new alertness and a new consciousness" about issues of social justice. [26] During this meeting, the pope blessed Serrano and gave him a thumbs up gesture of approval. Serrano remarked, "I was very happy that the church understands that I am a Christian artist and I am not a blasphemous artist. I’m just an artist."
Occasional use of body fluids such as blood, urine, feces, etc. in works of art is most common in shock art or transgressive art.
Christian art is sacred art which uses subjects, themes, and imagery from Christianity. Most Christian groups use or have used art to some extent, including early Christian art and architecture and Christian media.
Helen Chadwick was a British sculptor, photographer and installation artist. In 1987, she became one of the first women artists to be nominated for the Turner Prize. Chadwick was known for "challenging stereotypical perceptions of the body in elegant yet unconventional forms. Her work draws from a range of sources, from myths to science, grappling with a plethora of unconventional, visceral materials that included chocolate, lambs' tongues and rotting vegetable matter. Her skilled use of traditional fabrication methods and sophisticated technologies transform these unusual materials into complex installations". Maureen Paley noted that "Helen was always talking about craftsmanship—a constant fount of information". Binary oppositions was a strong theme in Chadwick's work; seductive/repulsive, male/female, organic/man-made. Her combinations "emphasise yet simultaneously dissolve the contrasts between them". Her gender representations forge a sense of ambiguity and a disquieting sexuality blurring the boundaries of ourselves as singular and stable beings."
The National Endowment for the Arts (NEA) is an independent agency of the United States federal government that offers support and funding for projects exhibiting artistic excellence. It was created in 1965 as an independent agency of the federal government by an act of the U.S. Congress, signed by President Lyndon B. Johnson on September 29, 1965. It is a sub-agency of the National Foundation on the Arts and the Humanities, along with the National Endowment for the Humanities, the Federal Council on the Arts and the Humanities, and the Institute of Museum and Library Services.
Andres Serrano is an American photographer and artist. His work, often considered transgressive art, includes photos of corpses and uses feces and bodily fluids. His Piss Christ (1987) is an amber-tinged photograph of a crucifix submerged in a glass container of what was purported to be the artist's own urine. He also created the artwork for the heavy metal band Metallica's Load and Reload albums.
The "NEA Four", Karen Finley, Tim Miller, John Fleck, and Holly Hughes, were performance artists whose proposed grants from the United States government's National Endowment for the Arts (NEA) were vetoed by John Frohnmayer in June 1990. Grants were overtly vetoed on the basis of subject matter after the artists had successfully passed through a peer review process. John Fleck was vetoed for a performance comedy with a toilet prop. The artists won their case in court in 1993 and were awarded amounts equal to the grant money in question, though the case would make its way to the United States Supreme Court in National Endowment for the Arts v. Finley, which ruled in favour of the NEA's decision making process. In response, the NEA, under pressure from Congress, stopped funding individual artists.
Transgressive art is art that aims to outrage or cause a reaction from the observer. The term transgressive was first used in this sense by American filmmaker Nick Zedd and his Cinema of Transgression in 1985. Zedd used it to describe his legacy with underground film-makers like Paul Morrissey, John Waters, and Kenneth Anger, and the relationship they shared with Zedd and his New York City peers in the early 1980s.
The Southeastern Center for Contemporary Art (SECCA) is a multimedia contemporary art gallery in Winston-Salem, North Carolina.
John Patrick Williams is an American Democratic legislator who represented Montana in the United States House of Representatives from 1979 to 1997.
Shock art is contemporary art that incorporates disturbing imagery, sound or scents to create a shocking experience. It is a way to disturb "smug, complacent and hypocritical" people. While the art form's proponents argue that it is "imbedded with social commentary" and critics dismiss it as "cultural pollution", it is an increasingly marketable art, described by one art critic in 2001 as "the safest kind of art that an artist can go into the business of making today". But while shock art may attract curators and make headlines, Reason magazine's 2007 review of The Art Newspaper suggested that traditional art shows continue to have more popular appeal.
Luke Sullivan is an Australian visual artist most notable for his internationally controversial work, The Fourth Secret of Fatima.
Virgin in a Condom is a sculpture created by British artist Tania Kovats in 1992 that proved controversial when exhibited in Australia and New Zealand as part of the exhibition Pictura Britannica.
Crucifixions and crucifixes have appeared in the arts and popular culture from before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in a wide range of religious art since the 4th century CE, frequently including the appearance of mournful onlookers such as the Virgin Mary, Pontius Pilate, and angels, as well as antisemitic depictions portraying Jews as responsible for Christ's death. In more modern times, crucifixion has appeared in film and television as well as in fine art, and depictions of other historical crucifixions have appeared as well as the crucifixion of Christ. Modern art and culture have also seen the rise of images of crucifixion being used to make statements unconnected with Christian iconography, or even just used for shock value.
The publishing of any "blasphemous libel" was a crime in New Zealand under Section 123 of the Crimes Act 1961 which allowed for imprisonment for up to one year. However, Section 123 protected all publications and opinions on any religious subject expressed in good faith and decent language against prosecution and specified that prosecution may proceed only with the leave of the attorney-general.
Myra is a 1995 large painting created by Marcus Harvey which is a reproduction of the mugshot of Myra Hindley shortly after she was arrested for her participation in the Moors murders. It was displayed at the Sensation exhibition of Young British Artists at the Royal Academy of Art in London from 8 September to 28 December 1997.
National Endowment for the Arts v. Finley, 524 U.S. 569 (1998), was a United States Supreme Court case in which the Court ruled that the National Foundation on the Arts and Humanities Act, as amended in 1990,, was facially valid, as it neither inherently interfered with First Amendment rights nor violated constitutional vagueness principles. The act in question required the chairperson of the National Endowment for the Arts (NEA) to ensure that "artistic excellence and artistic merit are the criteria by which [grant] applications are judged, taking into consideration general standards of decency and respect for the diverse beliefs and values of the American public". Justice Sandra Day O'Connor delivered the opinion of the Court.
Stux Gallery is a contemporary fine art dealership located in Manhattan, New York City. Artists represented/exhibited by the gallery have included Doug and Mike Starn, Vik Muniz, Andres Serrano, Dennis Oppenheim, Elaine Sturtevant, Inka Essenhigh, and Orlan.
Merry Alpern is an American photographer whose work has been shown in museums and exhibitions around the country including the Whitney Museum of American Art, San Francisco Museum of Modern Art, Museum of Modern Art, National Museum of Women in the Arts, and The Museum of Fine Arts, Houston. Her most notable work is her 1993-94 series Dirty Windows, a controversial project in which she took photos of an illegal sex club through a bathroom window in Manhattan near Wall Street. In 1994, the National Endowment for the Arts rejected recommended photography fellowships to Alpern, as well as Barbara DeGenevieve and Andres Serrano. Merry Alpern became one of many artists assaulted by congressional conservatives trying to defund the National Endowment for the Arts because of this series. As a result, museums such as the Museum of Modern Art in New York and San Francisco rushed to exhibit the series. She later produced and exhibited another series called Shopping which included images from hidden video cameras, taken in department stores, malls, and fitting rooms between 1997-99.
The National Association of Artists' Organizations (NAAO) was, from 1982 through the early 2000s, a Washington, D.C.-based arts service organization which, at its height, had a constituency of over 700 artists' organizations, arts institutions, artists and arts professionals representing a cross-section of diverse aesthetics, geographic, economic, ethnic and gender-based communities especially inclusive of the creators of emerging and experimental work in the interdisciplinary, literary, media, performing and visual arts. At the apex of its activities, in the late 1980s and early 1990s, NAAO served as a catalyst and co-plaintiff on the Supreme Court case, National Endowment for the Arts v. Finley having spawned the National Campaign for Freedom of Expression. NAAO's dormancy in the early years of the 21st century led to the formation of Common Field.
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