Curatorial Project

Curatorial Statement

Welcome to “Christianity and Condemnation, a Hypocrisy,” an exhibition that delves into the paradoxes within Christianity, exploring the complex interplay between professed ideals and the realities of human behavior. The overarching theme revolves around instances where Christian principles of love, compassion, and forgiveness clash with condemnation, judgment, and violence.

Spanning a diverse range of artistic expressions, from Duane Michals’ evocative “Christ in New York” series to Ethel Cain’s conceptual album cover for “Preacher’s Daughter,” the exhibition invites viewers to navigate the complexities within Christianity. These works highlight historical and contemporary moments where the principles of love and acceptance inherent in Christian teachings have been paradoxically intertwined with condemnation. By examining the societal norms shaped by religion, we aim to prompt thoughtful reflections on the alignment between professed beliefs and actual conduct.

As you engage with these artworks, consider the societal struggles, political entanglements, and personal narratives embedded in each piece. The goal is not only to challenge preconceived notions but also to foster a deeper understanding of the contradictions within religious narratives. Join us on this exploration of “Christianity and Condemnation, a Hypocrisy,” where the exhibition serves as a catalyst for dialogue, questioning, and reflection on the evolving nature of faith and its impact on shaping cultural attitudes.

Curatorial Essay

This exhibition features a curated collection of artworks and artists that highlight instances where Christian ideals of love, compassion, and forgiveness have clashed with condemnation, judgment, and violence. Through a unique narrative, the exhibition showcases art that reflects the paradoxes within Christianity.

Often, Christian passages promote a doctrine different from the actions and beliefs of their community. The Bible, a book that is not egregiously hateful, has been misinterpreted by many to justify their hatred toward certain groups. The stories of the Bible sometimes promote a message or ideas that contradict the general beliefs of Christianity.

“Christianity and Condemnation, a Hypocrisy” illuminates the instances where the principles of Christianity have been paradoxically intertwined with condemnation, revealing the complex relationship between religious ideals and human actions.

By addressing the contradictions within Christianity, this exhibition prompts a thoughtful examination of the role of religion in shaping societal norms and values. It encourages viewers to question the alignment between professed beliefs and actual conduct, crafting a deeper understanding of the complexities within religious narratives.

“Christ is beaten defending a homosexual,” from the series ‘Christ in New York,’ Duane Michals, 1981, Davis Museum at Wellesley College

At the beginning of the exhibition is “Christ is beaten defending a homosexual” from the series “Christ in New York” by Duane Michals (1981). Michals’ evocative images set the tone for the exhibition, capturing the essence of Christ’s presence in a hostile urban landscape. The juxtaposition of divine morality with human hatred introduces viewers to the central theme of paradoxes within Christianity. This photograph serves as a compelling introduction to the exhibition “Christianity and Condemnation, a Hypocrisy.” Taken against the backdrop of a hostile urban landscape, the image captures a powerful moment where Christ appears to be defending a homosexual individual.

The composition of the photograph is striking, with Michals skillfully using black and white photography to evoke a sense of timelessness and gravity. The urban setting, characterized by gritty textures and harsh contrasts, underscores the challenges faced by marginalized communities.

The narrative embedded in this photograph invites viewers to confront the dichotomy between Christian teachings of love and compassion and the harsh realities faced by marginalized groups. By specifically choosing to depict Christ engaged in a protective stance, defending a homosexual individual, Michals confronts societal prejudices and critiques the misinterpretation of religious doctrines that perpetuate discrimination.

Michals’ work becomes a poignant social commentary on the societal struggles of the 1980s, particularly in New York. The AIDS epidemic, discrimination against the LGBT community, and broader issues of social injustice come to the forefront. By aligning Christ with the defense of a marginalized individual, Michals challenges viewers to question the disconnect between religious ideals and the lived experiences of those who face condemnation. The 1980s marked a period of societal upheaval, with issues of identity, sexuality, and civil rights coming to the forefront. Michals captures the zeitgeist of the era by placing Christ in the midst of these struggles. The photograph becomes a historical document, reflecting the tension between religious morality and the societal challenges that demanded empathy and understanding.

In the broader context of the exhibition, Michals’ work prompts viewers to critically reflect on the intersection of religious teachings, societal norms, and the ongoing struggles for acceptance and equality. The photograph becomes a catalyst for examining the evolving nature of Christianity’s role in shaping cultural attitudes and behaviors.

“Reverend Fred Phelps,” Bruce Gilden, 1999, Magnum Photos

Bruce Gilden’s photograph captures Reverend Fred Phelps of the Westboro Baptist Church holding a sign that boldly declares “God Hates Fags.” The stark visual depicts Phelps, an old man, standing timidly with the sign, which feels out of place in his hands.

The photograph’s composition is striking as Phelps stands almost meekly with a sign dwarfs him in size. The juxtaposition of the diminutive figure against the expansive sign conveys a sense of vulnerability, challenging the typical image of a fervent preacher. The black and white photography intensifies the dramatic contrast, emphasizing the provocative nature of the scene. This image offers a narrative exploration of the weaponization of religious beliefs. Phelps, though not actively preaching in the moment, becomes a visual symbol of the inflammatory rhetoric propagated by the Westboro Baptist Church. The oversized sign, with its hateful message, starkly contrasts with the subdued posture of the elderly Phelps.

This photograph epitomizes instances where Christian principles clash with condemnation. Phelps’ seemingly timid stance while holding the vehement sign challenges viewers to critically assess the manipulation of religious doctrines to justify discriminatory attitudes, contributing to the exhibition’s exploration of this complex relationship.

“Preacher’s Daughter” Album Cover, Ethel Cain, 2022, Genius

Ethel Cain’s album cover for “Preacher’s Daughter” serves as a conceptual narrative within the exhibition “Christianity and Condemnation, a Hypocrisy.” Released in 2022, the cover unfolds a coming-of-age, queer storyline that reflects on religious trauma and its consequences.

“Preacher’s Daughter” encapsulates a narrative that unfolds through both visual and musical elements. The central figure’s contemplative expression suggests introspection and grappling with complex emotions tied to her religious upbringing. The album cover becomes a visual introduction to a broader story that delves into the intersection of personal identity, queerness, and the impact of religious teachings.

The album cover engages in social commentary by addressing the intersectionality of religious and queer identities. The narrative suggests a personal journey marked by conflict and trauma, offering a perspective on the struggles faced by individuals navigating their sexuality within the confines of religious doctrines. The use of religious imagery invites viewers to reflect on the often tumultuous relationship between faith and personal acceptance.

Released in 2022, the album cover also adds a contemporary layer to the exhibition. It speaks to the ongoing dialogue around LGBT rights and the evolving understanding of the intersection between faith and identity. As a recent cultural artifact, “Preacher’s Daughter” prompts viewers to consider how these themes remain relevant in today’s social landscape.

“Reflections on a Christian Insurrection,” Win McNamee, 2021, Getty

Win McNamee’s photograph, “Reflections on a Christian Insurrection,” encapsulates a pivotal moment during the U.S. Capitol insurrection on January 6, 2021. The image features an individual kneeling before a large wooden cross, adorned with a Trump flag draped over the base. The act of prayer, combined with the merging of Christian symbolism and Trump iconography, creates a potent visual narrative.

The framing of the shot places significance on the cross, emphasizing its role as a symbol not only of religious devotion but also as a conduit for political allegiance. The image becomes a narrative exploration of the entanglement of Christian symbolism and political fervor. The act of kneeling and praying before the cross, with the Trump flag overlaying it, suggests a profound connection between religious faith and a political figure. The narrative goes beyond a simple act of worship, intertwining the ideals of Christianity with a fervent belief in Trump as a political messiah. The photograph invites viewers to contemplate the implications of such merging of faith and politics.

Given the recent nature of the events captured in the photograph, it holds contemporary relevance, prompting viewers to reflect on the ongoing challenges of navigating the complex relationship between religious faith, political ideologies, and the impact on social cohesion. As part of the Capitol insurrection, the photograph serves as a historical document capturing a moment of societal unrest. It contributes to the visual record of a turbulent period, showcasing how political ideologies and religious fervor intersected in a way that directly threatened the heart of American democracy.

“Angels in America,” Home Box Office (HBO), 2003

“Angels in America,” a play by Tony Kushner adapted into a television miniseries in 2003, holds immense importance within the exhibition “Christianity and Condemnation, a Hypocrisy.” The work vividly portrays the AIDS epidemic in 1980s America, intertwining personal narratives with broader societal struggles.

Through characters like Prior Walter, the narrative navigates issues of identity and acceptance, challenging societal condemnation of marginalized groups. The inclusion of angels introduces religious imagery that prompts viewers to question the role of organized religion in the face of human suffering, adding depth to the exploration of personal and political intersections during a tumultuous period in American history.

By exposing the dissonance between professed religious values and the lived experiences of those facing societal prejudice, the play becomes a poignant critique of the condemnation often directed towards the LGBTQ+ community. The narrative highlights the paradoxical nature of a faith built on principles of love and acceptance while simultaneously perpetuating judgment. In this way, the inclusion of “Angels in America ” in the exhibition becomes a compelling lens through which viewers can reflect on the inherent contradictions within Christianity, urging a critical examination of the consequences of societal condemnation and the resilience required in the face of such hypocrisies.

“Behold,” David LaChapelle, 2016, Galerie Templon, Paris

David LaChapelle’s “Behold,” a photograph from 2016, challenges traditional depictions of Jesus, contributing a unique perspective to the exhibition “Christianity and Condemnation, a Hypocrisy.” In this image, a man painted turquoise, adorned with violet flowers and a halo, deviates from conventional representations of Christ, introducing a reinterpretation that prompts viewers to question preconceived notions of religious iconography.

LaChapelle’s “Behold” engages with the concept of queering religious iconography by presenting a Christ figure with more feminine qualities. This challenges the traditional binary representations of gender within religious narratives, encouraging a more inclusive and diverse understanding of spirituality. According to LaChapelle, “we’re living in such a puritanical moment right now when it comes to sex.” In the context of the exhibition’s theme, this photograph critiques the hypocrisy embedded in the rigid adherence to traditional representations of religious figures. It highlights the incongruence between professed Christian values of love and acceptance and the resistance to embracing diverse expressions of spirituality and identity.

“Virgin in a Condom,” Tania Kovats, 1990, Art Council Collection, Southbank Centre

Tania Kovats’ provocative artwork, “Virgin in a Condom” (1990), becomes a focal point within the exhibition. This controversial piece challenges patriarchal religious structures, offering a bold commentary on the hypocrisy of denying certain protections within the context of Catholicism.

“Virgin in a Condom” immediately captivates with its bold visual statement. The juxtaposition of the sacred and the secular is evident as the Virgin Mary, an iconic religious figure, is encased within a condom—a symbol of protection. This visual provocation challenges traditional representations of religious sanctity and confronts societal taboos surrounding discussions of sexuality and contraception.

The artwork serves as a direct critique of religious hypocrisy, particularly within Catholicism. By placing the Virgin Mary, a symbol of purity and motherhood, within a condom, Kovats challenges the Church’s stance on contraception and reproductive rights. The condom, a symbol of protection during the AIDS epidemic in the 1980s, becomes a metaphor for the denial of essential safeguards within religious doctrine.

“Virgin in a Condom” sparked controversy upon its creation, leading to discussions on the boundaries of artistic expression and religious sensitivity. According to Kovat, “the curator received death threats and the work was stolen and had to be replaced.” The controversy itself becomes an integral part of the artwork’s impact, highlighting the discomfort and resistance generated by challenging established religious narratives.

“Adam and Eve Exposed,” Damien Hirst, 2004

“Adam and Eve Exposed” unconventionally portrays the two biblical figures. The installation features the bodies of Adam and Eve under sheets atop operating tables, with only their exposed genitalia visible. This visual provocation challenges traditional artistic depictions of the biblical narrative and raises questions about the intersection of faith and scientific inquiry. Hirst’s choice to expose only the genitalia disrupts conventional representations, prompting viewers to confront the vulnerability and humanity of these archetypal figures.

Hirst’s artwork engages in an exploration of the clash between religious beliefs and scientific understanding. By placing the iconic figures of Adam and Eve within a medical setting, the installation suggests a tension between the religious account of creation and scientific explanations for human origins. The juxtaposition prompts viewers to reflect on the ongoing debate between faith-based narratives and empirical evidence. Through its visual symbolism and narrative ambiguity, the installation invites viewers to reflect on the inherent uncertainties within religious narratives and challenges the rigidity of traditional interpretations.

Ultimately, the exhibition not only critiques the misinterpretation of religious texts but also invites viewers to reflect on the evolving nature of Christianity’s role in shaping cultural attitudes, emphasizing the need for empathy and understanding in the face of societal contradictions. As viewers engage with these diverse artworks, they are encouraged to question the alignment between professed beliefs and actual conduct, fostering a deeper understanding of the intricacies within religious narratives and the perpetual pursuit of reconciling faith with compassion.

Works Cited

Kuuva, Sari. (2016). A metabolism of Adam and Eve: Damien Hirst meets Edvard Munch. Approaching Religion. 6. 125-135. 10.30664/ar.67597.

University of California San Francisco. (2021, June 2). 40 years of AIDS: A Timeline of the Epidemic | UC San Francisco. 40 Years of AIDS: A Timeline of the Epidemic | UC San Francisco. https://www.ucsf.edu/news/2021/06/420686/40-years-aids-timeline-epidemic

Cole, I. (2019, December 12). Unknown Extremes: A Conversation with Tania Kovats – Sculpture. Sculpture. https://sculpturemagazine.art/unknown-extremes-a-conversation-with-tania-kovats/

Iqbal, N. (2020, March 26). Photographer David LaChapelle: ‘I never wanted to shoot another pop star – I was tortured by them.’ The Guardian. https://www.theguardian.com/artanddesign/2017/nov/21/david-lachapelle-photographer-hawaii-warhol

Angels in America: Full Play Summary | SparkNotes. (n.d.). SparkNotes. https://www.sparknotes.com/drama/angels/summary/

Goldberg, M. (2021, July 9). Opinion | The Christian right is in decline, and it’s taking America with it. The New York Times. https://www.nytimes.com/2021/07/09/opinion/religious-right-america.html

Image Citations

“Christ in beaten defending a homosexual, from the series ‘Christ in New York’”

Duane Michals, 1981, Davis Museum at Wellesley College

https://library.artstor.org/#/asset/AWSS35953_35953_42288017

“Reverend Fred Phelps”

Bruce Gilden, 1999, Magnum Photos https://library.artstor.org/#/asset/AMAGNUMIG_10311520147

“Preacher’s Daughter” Album Cover

Ethel Cain, 2022, Genius

Ethel Cain – Preacher’s Daughter Lyrics and Tracklist | Genius

“Reflections on a Christian Insurrection”

Win McNamee, 2021, Getty

The Jericho March, Christianity, and the Capitol Siege – The Atlantic