If you happen to be traveling on the Tube, London’s subway network, during this season of Lent, you may come across some rather provocative billboard images of Jesus on the train platforms. These posters are advertising an exhibition of the work of a number of contemporary artists called “Stations of the Cross”. While the pieces are designed to grab the viewer’s attention, in the end one has to reject their premise, and question why a Christian church would host such an exhibition.
Marylebone is the home of the BBC’s Broadcasting House, Sherlock Holmes, and Madonna, among others; this scrivener lived there during graduate school. It is an area consisting primarily of rather large Georgian and Regency-era terraced houses; among the churches in this former village, now very much a part of central London, the most prominent is the Anglican church of St. Marylebone, built between 1813-1817. This is the venue for the “Stations of the Cross” show, and one wonders what former members of this church – Charles Wesley, for one – would have made of it.
In looking over the images chosen for the exhibition, some are well-executed, thought-provoking examples of contemporary artists considering the story of Christ’s Passion. There is a cleverly telling piece in which, instead of placing Christ before Pilate or the Sanhedrin, He is stood before a panel on a show like “American Idol”, to judge whether He lives or dies. It is not hard to imagine that He would be condemned by our 21st century pop culture just as He was by 1st century culture. Similarly, there is a beautifully executed, geometric rendering of the Crown of Thorns that one could see being used as, for example, a stamping on the cover of a hymnal or prayer book.
The majority of the images however, are simply poorly-executed, head-scratchers, or just plain dumb. For example, several of the artists have chosen to make allusions to the practice of capital punishment, and as someone opposed to its use, I understand the point they are trying to make. Yet putting Jesus in an electric chair denies the lengthy suffering that was crucifixion, which medically speaking is death brought about by asphyxiation. One wonders whether they would portray Jesus being aborted as a baby, or euthanized as an old man, but one can imagine why not.
Another artist has employed altered images of the famous Jacques-Louis David painting of the French revolutionary Marat, dead in his bathtub. Given that Marat was hardly a Christian, – and that’s putting it mildly – it makes no sense why his image would be the basis for this manipulation. Jesus was not put to death for whoring about while writing awful poetry. And then there is a photograph called “Phat Jesus”, which is simply tired old pornographic trash emanating from a diseased mind, the sort of thing that we’ve all seen before in supposedly edgy art magazines.
The apparent moral problem in criticizing this display is that the impetus for the event is a good one. The exhibition hopes to raise funds in the ongoing search for a man who has been missing for ten years, and to raise awareness of a group dedicated to helping find missing people. Dare one criticize an event that hopes to achieve something good?
Unfortunately, yes, but it must be said, not really because of the artists themselves. The fact that moral relativist artists can create and put on such a show should not surprise anyone: blasphemy is a cliché that has been worked to death since the dawn of Modern Art, for the simple reason that Christians are an easy target, and tend not to fight back. The real issue is why a Christian church would agree to host this exhibition in the first place, particularly during Lent. I will leave that to the reader to decide.
The best that can be said for this exhibition, it seems to me, is that if you are in London and want to engage in a penitential act during this season of Lent, go along and see how much the world continues to hate Jesus. He told us this would happen of course (St. John 15:18), and in an age which is becoming increasingly hostile to Christians, it is perhaps not a bad thing to be reminded of that fact. Clearly this is something that the powers that be at St. Marylebone forgot.