Europe’s openness about religious images has grown out of the Christian tradition

'Europeans may believe that in defending free speech – including contentious religious cartoons – we are standing up for human rights won since the French Revolution, but this is not strictly true.'

Jonathan Jones, writing about Art Below's Stations of the Cross exhibition at St Marylebone Parish Church (an exhibition which features work by commission4mission's Christopher Clack), notes that: 'Europe’s modern openness about religious images has grown naturally out of the Christian tradition itself.'

As a result, 'Europeans should recognise, when we rightly defend the right to offend, that for inheritors of the sensational tradition of Christian art, it is actually quite easy to say that artists have the right to do what they want to religion. Even the church agrees on that, as it always has.'

While this is a valid and important corrective, Jones will also be well aware of the propensity within certain streams of Christianity to protest against the right to offend. In his article he mentions Andre Serrano's Piss Christ, a cibachrome print of a crucifix submerged in urine, which 'became a hate object for cultural and religious conservatives in 1980s America.'

Yet, as he rightly suggests, Christians are as 'likely to embrace the outrageous image as they would a lamb strayed from the flock. 'Jesus,' he quips, 'how can you offend these people?' In his excellent talk on faith and contemporary art entitled 'Icons or Eyesores?' Alan Stewart does precisely that in relation to Serrano's Piss Christ:

'For me the real power of the piece is that it encapsulates a Christ who comes into the filth and refuse of the world, who himself is rejected, expelled like a body fluid. God in the refuse of life; dignifying it; sitting with us in solidarity. Allowing himself to become contaminated with the fall-out of life.'

Some years ago Philip Ritchie, Paul Trathen and myself led several courses entitled The Big Picture exploring faith and popular culture. In one session we considered the pros and cons of Christian protest or engagement in relation to controversial portrayals of Christ. In the 1970’s and 80’s films like Monty Python’s Life of Brian and Martin Scorcese’s The Last Temptation of Christ resulted in thousands of Christians demonstrating outside cinema’s while Christian organisation’s like the National Viewer’s and Listener’s Association headed by Mary Whitehouse lobbied for these films to be banned. However, the release of The Da Vinci Code in 2006, although it dealt with similarly controversial material for Christians, did not result in mass protests. Instead, through seeker events, bible studies, websites and booklets Churches encouraged discussion of the issues raised by the film while clearly contesting the claims made about Christ and the Church.

We noted that the protests often did not tally with the content of the films and displayed a lack of understanding of the films, their stories and meaning. As Richard Burridge, Dean of King’s College London, has said 'those who called for the satire to be banned after its release in 1979 were “embarrassingly” ill-informed and missed a major opportunity to promote the Christian message.' Life of Brian portrayed the followers of religions as unthinking and gullible and the response of Christians to that film reinforced this stereotype. The Church had to relearn that the way to counter criticism is not to try to ban or censor it but to engage with it, understand it and accurately counter it. The Da Vinci Code events, bible studies, websites etc. that the Church used to counter the claims made in The Da Vinci Code featured reasoned arguments based on a real understanding of the issues raised which made use of genuine historical findings and opinion to counter those claims.

This brings us back to Jones' comments that, following the Iconoclastic controversy, 'When it comes to portraying God and Jesus, there never were many restrictions in Europe ... Artists were not only permitted but encouraged by the Church to depict Jesus in the most shocking ways they could.' This approach has helped to develop 'Europe’s modern openness about religious images' but has grown naturally out of the Christian emphasis on 'the humanity and suffering of a god brought down to Earth' or, as Stewart puts it: 'a Christ who comes into the filth and refuse of the world, who himself is rejected, expelled like a body fluid. God in the refuse of life; dignifying it; sitting with us in solidarity. Allowing himself to become contaminated with the fall-out of life.'

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