Offending art and the sense of touch

Verrips, Jojada

doi:10.2752/175183408x328316

Cited by 9 publications

(8 citation statements)

References 23 publications

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“…The subsequent exhibition of Serrano's Piss Christ in museums in Australia, Great Britain, and France raised similar debates and confrontations on a local and national level, including physical attacks on the exposed photograph at the National Gallery of Art of Victoria in 1997 (cf. Verrips, 2008). When, in September 2012, Piss Christ was on display at the Edward Tyler Nahem gallery in New York, at the Andres Serrano overview Body and Spirit , religious groups and politicians called for President Obama to denounce this work of art, comparing it to the anti-Islamic film Innocence of Muslims (2012), which had been condemned by the White House earlier that month.…”

Section: Blasphemous Art In Postsecular and Gender-critical Perspectivementioning

confidence: 94%

“…Over and against art critics and other scholars, who claim that allusions to gendered corporeality and (homo)sexuality will per definition work provocatively in the context of iconic religious imagery because of the strong and potentially conflicting affective registers that are involved (cf. Freedberg, 1989;Verrips, 2008), I esteem more fruitful an approach that explores these contested works of art in relation to historical processes of shifting gender positions and changing stances towards sexual diversity in Western modernity. For instance, as theologian Margaret Miles has shown, in the Renaissance period when the first collective shift of women from the private to the public sphere took place in Europe, female nakedness and sexuality became the focus of a newly explicit public and controversial figuration in the arts (Miles, 1989).…”

Section: Blasphemous Art In Postsecular and Gender-critical Perspectivementioning

confidence: 98%

“…For comprehensive and critical overviews of contemporary art accused of blasphemy see BrentPlate (2006);Coleman, and White (2006);Coleman and Fernandes Dias (2008);Verrips (2008);Heartney (2011).…”

mentioning

confidence: 99%

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Transformations of Religion and the Public Sphere

Braidotti¹,

Blaagaard²,

Graauw³

et al. 2014

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Series Editors: Varun Uberoi, Brunel University, UK; Nasar Meer, University of Strathclyde, UK; and Tariq Modood, University of Bristol, UK The politics of identity and citizenship has assumed increasing importance as our polities have become significantly more culturally, ethnically and religiously diverse. Different types of scholars, including philosophers, sociologists, political scientists, and historians make contributions to this field and this series showcases a variety of innovative contributions to it. Focusing on a range of different countries, and utilizing the insights of different disciplines, the series helps to illuminate an increasingly controversial area of research, and titles in it will be of interest to a number of audiences including scholars, students, and other interested individuals.

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Section: Blasphemous Art In Postsecular and Gender-critical Perspectivementioning

confidence: 94%

Section: Blasphemous Art In Postsecular and Gender-critical Perspectivementioning

confidence: 98%

See 1 more Smart Citation

Transformations of Religion and the Public Sphere

Braidotti¹,

Blaagaard²,

Graauw³

et al. 2014

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“…See Jojada Verrips () and Anya Bernstein () for anthropological accounts of contemporary art that offends religious sensibilities.…”

mentioning

confidence: 99%

Beyond blasphemy or devotion: art, the secular, and Catholicism in Paris

Oliphant

2015

Royal Anthropological Inst

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In this article I explore the relationship between the secular and ‘cultural’ Catholicism in France through the lens of a contemporary art exhibit displayed at a new project of the French Catholic Church. Visitors’ varied responses to the exhibit, I argue, ultimately reinforced the organizers’ claim that the activities that occur within this ‘non‐religious’ space of the French church are self‐evident aspects of a broadly recognizable and ‘secular’ French or European culture.

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“… 14. Verrips (2008) goes beyond W. J. T. Mitchell's analysis of offending images to argue that many believers experience sensorial and corporeal hurt when looking at blasphemous or sacrilegious art.…”

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confidence: 99%

Ethics, Iconoclasm, and Qur’anic Art in Indonesia

George

2009

Cultural Anthropology

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What predicaments and crises are posed, whose interests are served, and what discourses are advanced when artists use the Qur’an for aesthetic projects? This essay throws light on some of the ethical and ideological energies that have animated today's Muslim art publics by looking at the anxiety and outcry in Indonesia's art world over the use of Qur’anic script in fashion and in painting. I argue that moments of panic or outrage may afford us a special glimpse of ethicopolitical claims as to what is or is not Islamically significant in the field of visual culture, and simultaneously reveal some of the power relations that shape national and global Muslim art publics. By looking at problems that have befallen designer Karl Lagerfeld and Indonesian painter A. D. Pirous, I suggest how a custodial ethics for handling Qur’anic Arabic has played into the hands of Muslim religious conservatives as they extend their authority into national and transnational art worlds, and more generally how Qur’anic art has become a space of struggle over the scope of secularism, religion, and culture. In doing so, I show ways in which the anthropology of art and the anthropology of Islam might fruitfully converge.

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Offending art and the sense of touch

Cited by 9 publications

References 23 publications

Transformations of Religion and the Public Sphere

Transformations of Religion and the Public Sphere

Beyond blasphemy or devotion: art, the secular, and Catholicism in Paris

Ethics, Iconoclasm, and Qur’anic Art in Indonesia

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