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PICTURING FAITH Christian Representations in Photography

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PICTURING FAITH Christian Representations in Photography PICTURING FAITH Christian Representations in Photography Volume 1 Text Nissan N. Perez A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy December 2012 Abstract x This dissertation addresses the largely unexplained phenomenon of the multitude of representations of Christian themes and symbolism in photography. It also considers the absence of photography in the extensive debates, conducted throughout art history, concerning relationships between art and religion. A primary objective of the study has been to undertake original research spanning the history of photography that, for the first time, identifies and maps key photographic images having Christian religious content; also, to identify the place and relevance of such images as valid modes of representation. A further objective of the study has been to examine the seemingly tight bond between photography and Christianity. Firstly, to consider the degree to which this may or may not have helped stimulate the medium’s invention, and then shape its development. Secondly, to examine the degree to which the treatment of religious subjects in photography may be a consequence of the photographer’s faith and cultural background (both Christian and non- Christian). The study also considers interpretations of Christian symbolism in contemporary photography, and why these may be either rejected or accepted as devotional objects/images. Consequently, the study's final question is whether this kind of imagery requires a new or different reading of the photographic image in general, and how this might affect perceptions of the medium. Underpinning the study is extensive visual research in public and private collections, archives and galleries. This allowed access to primary sources hitherto unknown or unpublished. Extensive examination of existing photographic literature was also undertaken to elucidate potential reasons underlying the phenomena. However, in light of the relative absence of such written documents, a parallel reading of general literature addressing the issues of art and religion was conducted. Interviews with contemporary artists using Christian symbolism were conducted, and public reactions to an exhibition (displaying material curated by the author) were analysed. 2 Contents x Abstract p. 2 Contents p. 3 List of illustrations p. 5 Preface p. 14 Acknowledgements p. 25 Author's Declaration p. 28 Definitions of Key Terms p. 29 1. Introduction p. 38 The Semitic Religions: Judaism and Islam p. 41 Christianity p. 45 2. Religion and Art: A Close and Complex Relationship p. 49 3. Religion in Painting and Photography p. 64 4. Photography among Christian Artists p. 77 Catholicism p. 82 Protestantism p. 107 Orthodoxy p. 118 5. Christian Themes and Symbols In the works of Non-Christian Photographers p. 124 Jewish Photographers p. 127 Muslim Photographers p. 134 Eastern Religions: Buddhism, Shintoism, Sikhism p. 138 6. Is Photography a Christian Invention? p. 146 3 7. From Sacred to Profane: Use and Abuse of Photographic Images with Christian Themes in Contemporary Mass Communication p. 175 Social uses of Photography p. 193 Political uses of Photography p. 196 Fashion and Advertising p. 200 Social and Cultural Taboos: Sex, Sensuality and Pornography p. 204 Depictions of Christ as Artistic Expression p. 209 Images for the Masses p. 213 8. Summary and conclusions p. 215 Annotated Bibliography p. 235 General Bibliography p. 243 4 List of illustrations x Figure 1 - Page from Babylonian Talmud, 300 CE Figure 2 - Beit Alpha Synagogue Mosaic, 6th century, Beit She’an, Israel Figure 3 - Austrian Spice Box, ca. 1810 Figure 4 - Page from the Bird’s Head Haggadah, Germany, c.1300 Figure 5 - Anonymous Micrography – The Judgment of Solomon, n.d Figure 6 - Anonymous Micrography Portrait of Moses, n.d Figure 7 - Sheikh Aziz al-Rufai, Pear Shaped Basmala, c.1925 Figure 8 - Ottoman Manuscript, 17th century Figure 9 - Zoomorphic Calligraphy, n.d. Figure 10 - Page from 16th Century Koran Figure 11 - Photographer Unknown, The Stone carvings, Ephesus in Turkey, 1st century CE Figure 12 - Andres Serrano, Piss Christ, 1989 Figure 13 - Renée Cox, Yo Mama's Last Supper, 2001 Figure 14 - Sam Taylor-Wood, Wrecked, 1996 Figure 15 - Gabriel Harrison, The Infant Saviour Bearing the Cross, 1850 Figure 16 - Gabriel Harrison, Christ Likeness, ca. 1854 Figure 17 - Anonymous Post Mortem American Daguerreotype, c.1845 Figure 18 - Anonymous Post Mortem American Daguerreotype, c.1845 Figure 19 - Julia Margaret Cameron, Adoration, 1865 Figure 20 - Julia Margaret Cameron, Love and Light, 1865 Figure 21 - Oscar Gustav Rejlander, Hard Times, 1860 Figure 22 - Lewis Hine, Italian Madonna, 1906 Figure 23 - Lewis Hine, Italian Immigrants, 1905 Figure 24 - Lewis Hine, Madonna of the Tenement, 1905 Figure 25 - Lewis Hine, Tenement Madonna, 1905 Figure 26 - Rafael Sanzio, Madonna of the Chair, c. 1514 Figure 27 - Holbein the Younger, The Body of Dead Christ in the Tomb, 1521 Figure 28 - Fred Holland Day, Jesus in the Tomb, 1898 Figure 29 - Sam Taylor-Wood, Sleep, 2002 Figure 30 - Sam Taylor-Wood, Self-Pieta, (Video Still), 2001 5 Figure 31 - Rembrandt van Rijn, The Anatomy Lesson of Dr. Tulp, 1632 Figure 32 - W. Eugene Smith, The Spanish Wake, 1951 Figure 33 - Freddy Alborta, Che Guevara Assassinated, October 10, 1967 Figure 34 - Andrea Mantegna, Dead Christ, c. 1470 1480 Figure 35 - Desiree Dolron, Piet, Xterior VIII, 2004 Figure 36 - Herlinde Koelbel, Opferlam, 1998 Figure 37 - Francisco de Zurbaran, Agnus Dei, 1635 Figure 38 - Adi Nes, Untitled (Jacob and Easu), 2006 Figure 39 - Caravaggio, Supper at Emmaus, 1601 Figure 40 - Caravaggio, The Doubting Thomas, 1601-2 Figure 41 - Vic Muniz, The Doubting Thomas, 2000 Figure 42 - Man Ray & Marcel Duchamp, Dust Breeding, 2921 Figure 43 - Nazif Topçuoglu, Is it for Real?, 2006 Figure 44 - Eugène Durieu, Study of Crucifixion, 1853-56 Figure 45 - Gustave Le Gray, Notre Dame, 1959 Figure 46 - Secondo Pia, Positive and Negative images of the Shroud of Turin, 1898 Figure 47 - Giuseppe Enrie, The Shroud of Turin (Head), 1931 Figure 48 - H. Kroff, Oberammergau, 1890 Figure 49 - H. Kroff, Oberammergau, 1890 Figure 50 - Unidentified photographer, From: Twelve Scenes from the Life of Jesus, 1902 Figure 51 - Max Ernst, The Virgin Spanking the Christ Child Before Three Witnesses: André Breton, Paul Eluard and the Painter, 1926 Figure 52 - Cover of La Revolution Surréaliste, 1925 Figure 53 - Un Cadavre, 1930 Figure 54 - Georges Hugnet, The Last Supper, 1934 Figure 55 - Unidentified photographer, The Last Supper, Oberammergau, 1930 Figure 56 - Man Ray, Monument à Sade, 1933 Figure 57 - Man Ray, Jacques Rigaut, 1920s Figure 58 - Man Ray, Untitled, 1920s Figure 59 - José Maria Sert, Sketch for the Vich Cathedral Mural, c. 1920 Figure 60 - José Maria Sert, Untitled Study, 1920s Figure 61 - José Maria Sert, Crucifixion, 1920s Figure 62 - José Maria Sert, Descent from the Cross, 1920s Figure 63 - José Maria Sert, Pieta, 1920s Figure 64 - José Ortiz Echagüe, Descendimiento de Cristo, 1940s 6 Figure 65 - Nazi Propaganda Posters, 1933-1945 Figure 66 - John Heartfield, Untitled (The cross was not heavy enough), 1940s Figure 67 - John Heartfield, The Murderer's Crucifix, c. 1940 Figure 68 - Raymond Voinquel, Sketch for La Divine Tragedie, 1949 Figure 69 - Diego Velázquez, Jesus Crucified, 1632, (detail) Figure 70 - W. Eugene Smith, Tomoko in her Bath, 1972 Figure 71 - Henri Huet, Vietnam, 1966 Figure 72 - Larry Burrows, Reaching Out, the DMZ, South Vietnam, 1966 Figure 73 - Andy Warhol, From Last Supper Cycle, 1986 Figure 74 - Andy Warhol, From Last Supper Cycle, 1986 Figure 75 - Richard Avedon, Andy Warhol, 1971 Figure 76 - Robert Mapplethorpe, Andy Warhol, 1986 Figure 77 - Duane Michals, Christ in New York, 1980-82 Figure 78 - Duane Michals, Salvation, 1982 Figure 79 - Robert Mapplethorpe, Self Portrait, 1978 Figure 80 - Robert Mapplethorpe, Self Portrait, 1975 Figure 81 - Robert Mapplethorpe, Calla Lily, 1988 Figure 82 - Robert Mapplethorpe, Christ, 1988 Figure 83 - Robert Mapplethorpe, Gentlemen, n.d. Figure 84 - Gilbert and George, Was Jesus Heterosexual?, 2005 Figure 85 - Pierre et Gilles, Christ, 1991 Figure 86 - Pierre et Gilles, Sainte Affligée, n.d. Figure 87 - Pierre et Gilles, Saint Pierre, n.d. Figure 88 - Joel Peter Witkin, Self Portrait, 1984 Figure 89 - Joel-Peter Witkin, Savior of the Primates, 1982 Figure 90 - Joel-Peter Witkin, Penitente, 1982 Figure 91 - Nancy Burson, Guys Who Look Like Jesus, 1999 Figure 92 - Andres Serrano, Piss Christ, 1987 Figure 93 - Andres Serrano, Black Supper, 1990 Figure 94 - Andres Serrano, Pieta, 1985 Figure 95 - Andres Serrano, The Morgue (Homicide Stabbing), 1992 Figure 96 - Andres Serrano, The Interpretation of Dreams (The Other Christ), 2001 Figure 97 - Luis Gonzalez Palma, Hierarchies of Intimity, The Annunciation, 2004-6 Figure 98 - Luis Gonzalez Palma, Retrato de Niño, 1990 Figure 99 - Luis Gonzalez Palma, Hierarchies of Intimity, 2004-6 7 Figure 100 - Luis Gonzalez Palma, Hierarchies of Intimity, 2004-6 Figure 101 - Toni Catany, El Christ d’Esperreguera, 1997 Figure 102 - Catherine Opie, Untitled, 1998 Figure 103 - Catherine Opie, Ron Athey/The Sick Man (from Deliverance), 2000 Figure 104 - Angelika Rinnhofer, Felsenfest, 2007 Figure 105 - Julia Margaret Cameron, The Passion Flower at the Gate, Maud, 1865-70 Figure 106 - John Thomson, 'Hookey Alf' of Whitechapel, 1877 Figure 107 - Henry Peach Robinson, Fading Away, 1858 Figure 108 - Oscar Gustav Rejlander, The Two
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