John Boswell: Historian of gays and lesbians in Christianity

March 20, 2014, 8:23 am

≫ Next: Adrienne Rich: lesbian poet with spiritual impulses

≪ Previous: Kuan Yin: A queer Buddhist Christ figure

$

0

0

John Boswell

John Boswell (1947-1994) was a prominent scholar who researched and wrote about the importance of gays and lesbians in Christian history. He was born 65 years ago today on March 20, 1947.

Boswell, a history professor at Yale University, wrote such influential classics as Christianity, Social Tolerance, and Homosexuality (1980) and Same-Sex Unions in Premodern Europe (1994).

Boswell converted from the Episcopal Church of his upbringing to Roman Catholicism at age 16. He attended mass daily until his death, even though as an openly gay Christian he disagreed with church teachings on homosexuality. He also helped found Yale’s Lesbian and Gay Studies Center in the late 1980s.

A linguistic genius, he used his knowledge of more than 15 languages to argue that the Roman Catholic Church did not condemn homosexuality until at least the 12th century in his book Christianity, Social Tolerance, and Homosexuality: Gay People in Western Europe from the Beginning of the Christian Era to the 14th Century.

Using some of his last strength as he battled AIDS, Boswell translated many rites of adelphopoiesis (Greek for making brothers) in his book Same-Sex Unions in Premodern Europe, presenting evidence that they were same-sex unions similar to marriage.

Boswell died an untimely death at age 47 from AIDS-related illness on Christmas Eve 1994. He remains an unofficial saint to the many LGBT Christians who find life-giving spiritual value in his historical research that affirms the value of queer people in Christian history.

___
Boswell’s books include:
Christianity, Social Tolerance, and Homosexuality: Gay People in Western Europe from the Beginning of the Christian Era to the 14th Century

Same-Sex Unions in Premodern Europe
___
Related links:

John Boswell Page at Fordham University

John Boswell profile at LGBT Religious Archives Network

John Boswell tribute at Yale AIDS Memorial Project (yamp.org)

John Boswell profile at Elisa Reviews and Ramblings
____
This post is part of a new effort to add authors and theologians to the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, heroes, holy people, deities and religious figures of special interest to lesbian, gay, bisexual and transgender (LGBT) and queer people and our allies are covered on appropriate dates throughout the year.

---

Adrienne Rich: lesbian poet with spiritual impulses

March 27, 2014, 10:14 am

≫ Next: Gay Passion of Christ prints and cards for sale now

≪ Previous: John Boswell: Historian of gays and lesbians in Christianity

$

0

0

Adrienne Rich portrait by Sharon McGill

Adrienne Rich, a lesbian feminist and one of the most influential poets of the 20th century, died two years ago today on March 27, 2012 at age 82.

Her writing was a guiding light to me and countless others, both people of faith and secular readers. The following lines from her poem “Natural Resources” (from The Dream of a Common Language: Poems 1974-1977) became like a creed for many:

My heart is moved by all I cannot save:
so much has been destroyed

I have to cast my lot with those
who age after age, perversely,

with no extraordinary power,
reconstitute the world.

Rich was born on May 16, 1929 to a Jewish father and Episcopalian mother. She wrote about her conflicting religious background in her essay “Split at the Root” (from Blood, Bread, and Poetry: Selected Prose 1979-1985). That volume also includes the insightful essay whose title alone was enough to dazzle me: "Compulsory Heterosexuality and Lesbian Existence."

I had the honor of meeting Rich in person in the 1980s when she spoke at Metropolitan Community Church of San Francisco, where I served on the clergy staff. Informally among ourselves, we called her “the Great One.”

Many years later I was impressed all over again when I listened to my cassette tape of her remarks and reading at MCC-SF on Nov. 7, 1987. I was there in person and I remember it well.  Speaking to the mostly LGBT audience from both Jewish and Christian traditions, she emphasized the importance of bringing together sacred and secular, Christian and Jew, lesbian and gay and straight. The event was co-sponsored by Congregation Sha'ar Zahav, a progressive Reform Jewish congregation in San Francisco.

I transcribed what she said about her connection to spirituality:

The coming together of those of us who are non-congregants with you who are is very important. A couple of years ago in a talk and reading that I gave at UCLA Hillel, I described myself as a secular Jew and later in a discussion Andy Rose (now Avi Rose) asked me why, since he felt the poetry I was reading to be spiritual rather than secular in its impulse. I’ve thought a lot about that and about the lines drawn in Judaism between secular and religious, and between various degrees and forms of observance.

Along with all the work being done by observant Jewish feminists, the re-creation of liturgy towards a theology of wholeness, I think there are some of us who are drawing a deep spiritual sustenance from the Jewish secular progressive tradition, who are trying to fuse the material and the spiritual rather than leave them in the old dichotomous opposition, coming from a secular rather than a religious orientation and wanting to keep asking the questions of flesh and blood, of justice, of bread, the questions of this world.

Maybe we don’t know exactly what we are trying to do nor yet have a language for it. Liberation theology is not quite it, though the concrete examples of liberation theology in action, both Jewish and Christian, have revealed certain possibilities. The wealth of blessing that proliferate in Jewish tradition -- the tradition that bids Jews bless all kinds of everyday as well as exceptional events and things: new clothes, a new moon, bread, wine, the washing of hands, our teachers, spices, the sight of lightning, the sound of thunder -- this tradition has implications as well. And for me this has implications for poetry. And since I would never claim that poetry can be purely secular, I will have to leave it for now at that.

She also talked eloquently about LGBT life with words that are still just as true more than 25 years later:

There is no simple way to speak about what’s happening in lesbian and gay communities at the end of the 20th century. We know that in the history of our communities there have been many efforts and many ways of defining ourselves against the hostile and destructive definitions that have been ground out by a heterosexuality badly in trouble and terrified of its own complexity, terrified of its own fragility. Nothing obviously but a deep sense of anxiety of identity could produce the kind of projective thinking and scapegoating which has targeted lesbians and gay men along with any women and men who have refused the straightjackets of gender.

Rich had a big impact on the lives of many people, including artist Sharon McGill whose art graces this post. Her tribute "Wonder Woman: Adrienne Rich" is posted at her McGillustrations blog.

Artist Sharon McGill illustrated a quote from Adrienne Rich: “Art means nothing if it simply decorates the dinner table of power which holds it hostage.”

Rich's essay “Women and Honor: Some Notes on Lying” (from On Lies, Secrets, and Silence: Selected Prose 1966-1978) played a major role in helping me (and many other lesbians) decide to come out of the closet. I read the essay so many times that I  memorized parts of it.  I still refer to these words when I need to make difficult decisions:

An honorable human relationship-- that is, one in which two people have the right to use the word "love"-- is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell each other.

It is important to do this because it breaks down human self-delusion and isolation.

It is important to do this because in doing so we do justice to our own complexity.

It is important to do this because we can count on so few people to go that hard way with us.

Thank you, Adrienne.  Now your soul is continuing on that hard way.  I count you among the LGBT saints for all the wisdom that you have bestowed upon the world.

___
Related links:

Adrienne Rich 1929-2012: A Poet of Unswerving Vision at the Forefront of Feminism (New York Times obituary)

In Remembrance: Adrienne Rich by Victoria Brownworth (Lambda Literary)

Adrienne Rich and transmisogyny (You're Welcome blog)

____
This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, heroes, holy people, deities and religious figures of special interest to lesbian, gay, bisexual and transgender (LGBT) and queer people and our allies are covered on appropriate dates throughout the year.

Gay Passion of Christ prints and cards for sale now

March 28, 2014, 11:23 am

≫ Next: Mystical same-sex marriage affirmed in Renaissance art and new book "Saintly Brides and Bridegrooms”

≪ Previous: Adrienne Rich: lesbian poet with spiritual impulses

$

0

0

Prints and greeting cards of Douglas Blanchard’s gay Passion of Christ paintings are available for purchase now for the first time ever.

Order high-quality giclee reproductions in a wide variety of sizes and formats at:
douglas-blanchard.fineartamerica.com

Order now and you will receive your prints and cards in time for Holy Week, which starts April 13. The 24 images show Jesus as a gay man of today in a modern city.

“Doug and I keep getting requests from people who want to buy reproductions of his Passion paintings, so we worked together to set up the new website. We see this as a service to individuals and organizations that want to foster spiritual reflection, especially during Holy Week,” said Kittredge Cherry, author of a forthcoming book on the gay Passion series.

Reproductions of the Passion are offered through Fine Art America, one of the largest, most-respected giclee printing companies in the world with over 40 years of experience producing museum-quality prints. They provide expert printing, custom framing and matting, shipping worldwide within three business days, and a 30-day money back guarantee.

All of their prints are produced on state-of-the-art, professional-grade Epson printers. They use acid-free papers and canvases with archival inks to ensure that your prints will last a lifetime without fading or loss of color.

Fine Art America is also one of the biggest and best custom framers in the world. They stock more than 250 different frames that can be used to create museum-quality masterpieces. They also offer “metal prints” printed on aluminum and mounted on wood, and “acrylic prints” printed on a sheet of clear, high-gloss acrylic.

The greeting cards are 5 by 7 inches and can be customized with your own personal text printed on the inside.

If you are interested in buying a complete set of all 24 prints, contact Kitt and Doug for a discount price quote. (Not available for cards.)

Eleven of the original paintings are also for sale, priced at $2,000 apiece. Each one is oil on wood panel, measuring 14 by 18 inches. Contact us if you are interested.

"The Passion of Christ: A Gay Vision" by New York artist Doug Blanchard presents a liberating new vision of Jesus' final days, including Palm Sunday, the Last Supper, and the arrest, trial, crucifixion and resurrection. The contemporary Christ figure is jeered by fundamentalists, tortured to death by soldiers, and rises again to enjoy homoerotic moments with God. His surprisingly diverse friends join him on a journey from suffering to freedom. Viewers call it “accessible but profound.”

The gay Passion series will be featured here at the Jesus in Love Blog next month from Holy Week to Easter, April 13-20.  Blog posts will include reflections by lesbian Christian author and art historian Kittredge Cherry and art by Blanchard.  Their illustrated book about the gay Passion will be published later this year by Apocryphile Press. Click here to be notified when the book is published

___
Related links for “The Passion of Christ: A Gay Vision”:

*Book

*Email list

*Blog series

*Prints and greeting cards

Mystical same-sex marriage affirmed in Renaissance art and new book "Saintly Brides and Bridegrooms”

April 3, 2014, 8:47 am

≫ Next: Black Jesus appears in liberating new art book “The Way of the Cross”

≪ Previous: Gay Passion of Christ prints and cards for sale now

$

0

0

“The Calling of St. John,” a 12th-century miniature, shows Jesus coaxing John away from his bride, and John resting his head Jesus’ chest. The text means, "Get up, leave the breast of your bride, and rest on the breast of the Lord Jesus." *

By Kevin Elphick

Carolyn Diskant Muir’s new book, Saintly Brides and Bridegrooms: The Mystic Marriage in Northern Renaissance Art is not only impressive as a scholarly work, but it has numerous beautiful paintings of male-male intimacy with Christ. Muir devotes a chapter to St. Bernard of Clairvaux, including his poem of marital bliss with Jesus and numerous images of Bernard and Christ. Another entire chapter is dedicated to St. John as the Bride of Christ.

With more than half of the saints Muir introduces being male, one cannot help but come away from her book with the impression that the Renaissance church was much more comfortable with the concept of same-sex marriages, albeit “mystical” marriages at that. In point of fact, the descriptor “mystical” does not diminish the marriage concept, but instead hyper-accentuates it, setting up mystical marriage as the ideal to strive for. The Renaissance church appears to have had no problem with male-male mystical marriage as an idealized model for conjugal bliss.

The book could not be more timely. While the work was delayed in publication, it ended up being available from its publisher in the same year as the U.S. Supreme Court’s recognition of same-sex marriages, and in which a record number of states (as well as tribal jurisdictions) passed their own same-sex marriage laws. Opponents of same-sex marriage equality have frequent recourse to the mistaken belief that marriage has been a monolithic institution through all of human history: one male, one female, united (often “by God”) for the purpose of progeny.[1] Dr. Muir’s book vividly demonstrates the many forms of marriage depicted in Renaissance art, drawing upon textual evidence, illustrated manuscripts, paintings, and sculptures.

Muir, associate professor of art history at the University of Hong Kong, vividly demonstrates to her readers that in the European tradition, “marriage” had another canonically sanctioned reality: marriage to God. (How ironic it is that in English we have the word, “deicide,” to connote the killing of God, but no word describing the act of wedding God!) In this book, Muir examines five saints who experienced this mystical marriage to God and were subsequently depicted in Renaissance art. In the Christian tradition, human marriage is a sacrament that points beyond itself to a greater reality, that of Christ wedded to the Church: “This is a great mystery: but I speak concerning Christ and the church.” (Ephesians 5:32) Human marriage is transitory; marriage to God is an everlasting destiny. Where marriage of two partners is a finite event in history culminating at death, marriage of the Divine and Human is a transhistorical event toward which humanity was first created and ultimately oriented. “For your Maker is your husband.” Isaiah 54:5

Images of a saintly bride wedding Jesus might seem normative in the Christian tradition (think of the Parable of the Wise Virgins in the Gospels and the Bride of the Lamb in the Book of Revelations), but a male saint wedding the Christ is startling to modern audiences. Instead, Carolyn Diskant Muir begins her book with discussions of St. Catherine and St. Agnes, both depicted as paradigmatic brides of Christ. St. Catherine of Alexandria is the saint most often depicted in mystic marriage in Renaissance art. However, the potential for an implied sexualized dynamic to their marriage is precluded by the images of Christ being the Infant Christ or the Christ Child, often accompanied by his chaperoning Mother. The marriage “act” depicted is the bestowal of a wedding ring to these faithful virgins. As a play on words, St. Agnes’ marriage partner is not infrequently depicted as the Lamb of God, the Latin “agnus” meaning “lamb,” again obviating any overt sexual connotation to their wedded union.

Of the male saints in her book, Blessed Henry Suso represents a good figure to focus on to see the tension present in portraying a male disciple loving a God who is typically gendered as “male.” (This same tension is explored in a Jewish context by Howard Eilberg-Schwartz in his ground-breaking book, God’s Phallus: and other problems for men and monotheism.) In Bl. Henry we see a mystical marriage to Wisdom-Sophia, an ancient hypostasis for God, who has been portrayed as both male and female. There has been some scholarly research which suggests that the historical figure of Lady Wisdom developed in the ancient Jewish world specifically to traverse the tension felt by male heterosexual practitioners, loving an otherwise male-imaged God. Henry Suso draws upon this sapiential Wisdom tradition to give expression to his mystical marriage to God. Because the broad sweep of Wisdom literature portrays divine Wisdom as both male and alternately female, Blessed Henry does the same. However, each individual Wisdom literature author typically maintains a specific and consistent gender throughout their writings for their rendering of Wisdom. 

Suso however is conscious of his intentional gender switching for Wisdom and explains: “And so the style changes from time to time to suit what is then the subject….” In so doing, Suso presents a fluid image of the Divine without a rigid and set gender. In the overabundance of Suso’s experience of intimacy with God, a single gender role proves inadequate, necessitating his use of all available gendering to communicate the ineffable love of the Divine. The rich images Dr. Muir provides of Blessed Henry and his beloved Wisdom portray the vacillation between male and female partners in the person of Wisdom. In his writings, Suso leaves us a legacy of intimacy with God, in which God is both wife and husband, lover and beloved.

Interestingly, Dr. Muir makes no mention of German Renaissance mystic and theologian Jacob Boehme in her exploration of Bl. Henry Suso. Like Suso, Boehme transmutes his love affair with God into a relationship with Lady Wisdom. While at the far end of the period Muir is studying, this Protestant mystic had interesting similarities to and explicit contrasts with Suso. Like Suso, Boehme courts Lady Wisdom. However, in Boehme’s writings, Wisdom remains clearly and intentionally female. In point of fact, Boehme’s spirituality perceives an affectional relationship with the divine female Wisdom to be the natural order for humanity. For Boehme the “unnatural” and disordered relationship would be his pairing with the explicitly male Devil, who strives to entice good Christian men into what Boehme characterizes as an unnatural relationship. It is unclear if Boehme’s spirituality was translated into the visual arts as with Suso, although his influence is seen in Angelus Silesius, William Blake, and Milton.

“Christ Embracing St. Bernard of Clairvaux” by Francisco Ribalta

Muir’s second male mystic is St. Bernard of Clairvaux. A 12^th century monk, Bernard is one of the founders of affective spirituality, an incarnational spirituality that incorporates personal feelings and emotions into meditation on the lives of Christ and the Saints. One of Bernard’s most influential works is his 86 sermons on the Biblical love poetry of the Song of Songs. In these sermons Bernard allegorizes the love affair between God and the human individual. When writing of the individual soul in the abstract, the soul is feminized in relation to a masculine God. In his own encounter with God, Bernard maintains his male identity with a male God. Bernard also applies the love poetry fashioned by the Song of Songs to the inner life of the Trinity. In the Trinity, the language of the kiss between lovers in the Song of Songs  is taken by Bernard to ultimately point to the Holy Spirit who is the “Kiss” between the First and Second Persons of the Trinity. Through our union with the Incarnate Christ, Bernard believes we too participate in the Trinitarian embrace and “Kiss.”

Muir recounts an event from Bernard’s life in which, while praying before an altar, the crucified Christ reached down and embraced Bernard, after Bernard had reverently kissed him. This event from Bernard’s life precipitated a poetic prayer attributed to Bernard, which is the basis for the Bach hymn, “O Sacred Head, Now Wounded.” The 74 verse prayer is vividly focused on the crucified and wounded body of Christ. Muir describes it as “sensual -- even at times erotic -- in tone, with the verbs ‘kiss’, ‘feel’, ‘touch’, ‘explore’, ‘embrace’, ‘lick’, and ‘taste’ being freely used…” (p. 93)  to describe the encounter with the suffering, passionate body of Christ.

For Muir, this embrace between Bernard and the crucified Christ is their moment of mystical marriage. The poem-prayer is the song celebrating their nuptial bliss, the Incarnate body of Christ reaching out to unite itself to the body of Bernard. Muir’s artistic interest is then in the imagery of this union which she labels: “Bernard’s Embrace with Christ.” An example is Francisco Ribalta’s  “Christ Embracing St. Bernard” (1625-27). Muir provides numerous examples of this motif, with varying degrees of physical intimacy demonstrated between Bernard and Christ.

While Muir acknowledges that the motif of Christ embracing a mystic saint from the cross exists in other hagiographic traditions, she finds no visual arts tradition for others prior to the 17^th century. (p. 113, footnote 16) Interestingly, she includes Francis of Assisi among these saints. However, she otherwise appears to be unaware of Francis himself as a mystical bride of Christ and his stigmatization conceptualized as the consummation of their nuptial union. Ubertino da Casale, a 14th century Franciscan (and a figure in the historical novel The Name of the Rose 1980), recognizes St. Francis' mystical marriage as taking place in his stigmatization. He describes the five wounds of the stigmata as "five of the freshest roses which adorn his nuptial bed." He goes on to explain that Francis was "in soul and body... beloved spouse to Him" [Christ] (Arbor vitae crucifixae Jesu Christi, Ch. 4, 1305 C.E.) In a similar manner by which Bernard's embrace by Christ is recognized as "mystical marriage" by Muir, so also is the penetration of Francis' flesh in the stigmata, his consummation of marriage with Christ. It would be further fascinating reading if Muir were to explore this rich literary and artistic tradition, all the more so given the later conflation in art of the image of Francis being embraced by the Crucified, derivative of the Bernard tradition.

“Saint Francis Embracing Christ” by Francisco Ribalta (Wikimedia Commons)

Of the five saints explored by Muir, the most intriguing is St. John the Beloved. Where historians like John Boswell had pointed to a limited tradition depicting St. John's marriage to Christ, dependent largely upon St. Aelred, Muir unearths a cascade of images of this tradition, demonstrating that not only was it widely known and venerated, but heavily influencing both women's and men's vowed spirituality.

Muir cites the apocryphal Acts of John, the Golden Legend, Pseudo-Bonaventure, St. Bernard, and Origen, as sources identifying the Beloved Disciple, John, as having been married to Christ. In some sources, the gospel story of the Wedding Feast at Cana is creatively recast as John’s own marriage. Jesus’ attendance occasions his call to John to forsake his new bride and follow him “to a higher wedding.” John necessarily follows this call, becoming Jesus’ beloved. As a virgin himself, John becomes the prototype for all subsequent nuns, monks, and religious.

Detail from “The Last Supper” from The Small Passion by Albrecht Durer (Wikimedia Commons)

Muir produces abundant examples of Renaissance art depicting Christ and John as a wedded couple. Many of these draw thematically upon the gospel narrative of John resting his head upon Jesus’ breast at the Last Supper.  One example in the book is Albrecht Durer's renowned Last Supper.  The little-known 12th-century C.E. miniature, “The Calling of St. John,” (pictured at the top of this article) depicts two scenes:  Christ calling the disciple John to leave his bride and follow him, and John resting his head on the breast of Christ, who in turn cups his chin. Notably, both Jesus and John are beardless. The depicted physicality of their shared intimacy is evident in the artworks she selects for this chapter, made all the more so by known artistic conventions to depict romantic intimates, such as joined right hands or a hand tenderly cupping the beloved’s chin. To undergird the legitimacy of an orthodox same-sex marriage tradition, there are fewer heavyweights possible than invoking the Savior himself wedding the namesake of the fourth Gospel.

Muir does address the question of the potential homoeroticism these images could evoke. But for her, “…that is not the issue here. In a way this entire debate is rather ironic. To modern eyes, it is the male-male embrace that has been considered shocking and potentially problematic, whereas such an embrace would have reflected the actual behavior of medieval men who did embrace on various occasions…” (p. 155) That being said, Muir’s work with mystical marriages in art surfaces a literary, theological, and artistic tradition that not only tolerates same-sex marriage, it is comfortable with idealizing it.

Muir's book reminds us of a medieval church at ease with male-male physical intimacy, even ascribing it to Jesus himself. In her Introduction she quotes the 12th century Benedictine, Rupert of Deutz, describing his mystical encounter with Christ: "I took hold of him [Christ] whom my soul loves. I held him. I embraced him. I kissed him lingeringly. I sensed how gratefully he accepted this gesture of love when, between kissing, he himself opened his mouth, in order that I kiss more deeply." (p. 11) Pope Benedict XVI called Rupert "a fervent theologian endowed with great depth." (December 09, 2009) But it would be wrong to dismiss these passionate images solely as symbolic metaphor. The images work effectively only if there is an already implicit affirmation of the erotic intimacy. Rupert is fervent not only in spirit, but as enfleshed male loving the fully-human Jesus.

Surfacing these images and traditions at this time in human history serves to remind us in the fervor of our same-sex marriage debates that at some level, the church and society were once comfortable with images of same-sex intimacy and commitment, to the point of divinizing it. Restoring these images and traditions to the worship space and the sphere of normative Christian life and perceptions will serve to ease the transition toward mainstream churches accepting same-sex marriage and normalize (moreover, actually restore) the practice within our faith communities. With this book, Muir has showered down a blessing from history upon the LGBT communities.

While not inexpensive at $132, Muir's book is comparable to other coffee-table size art history books. This hardcover edition captures over one hundred images and 16 full-color plates, serving to highlight those Renaissance artworks which most compellingly demonstrate her thesis. (And who wouldn't want, at their next dinner-party debate over same-sex marriage, to note that not only did Jesus support same-sex marriage, he was in just such a marriage with St. John? And thereupon open Muir's book to Chapter 3 to share the sumptuous images of their blissful marriage, a veritable Renaissance wedding album.).

---

[1] To illustrate a typical re-write of marital history in which marriage is portrayed as having the same form seemingly forever throughout history, one can look at an example found in the NY Catholic Bishops’ Statement on Marriage from June 1^st, 2009. The eight bishops collectively wrote: “Throughout history, different cultures have had different customs regarding marriage. But the one constant has been the conviction that marriage is the union of a man and a woman in an enduring bond, ordered for the procreation and stable rearing of children.” (While re-writing marriage history, the bishops stealthily neglect to mention that their own definition of marriage considers a “woman” to be marriageable at 15 years of age; the requirement for the male being inexplicably older for licit marriage. Code of Canon Law, Canon 1083). Just to highlight some of the many historical variants deviating from this misleading portrayal of marriage through the ages, the bishops themselves conveniently forget the practice of child marriage, the polygamy of the Jewish patriarchs, the Levirate marriage obligation, the professed, virginal marriage of Mary and Joseph, and the Catholic tradition of marriages of continence (fully abstaining from otherwise licit marital sex) in their own faith tradition.

* Latin inscription on "The Calling of St. John" is: "Tu leve conjugis pectus respuisti supra pectus domini Ihesu recumbens."

 ____

Kevin Elphick is both a Franciscan scholar and a supervisor on a suicide prevention hotline in New York. He wrote a thesis on “Gender Liminality in the Franciscan Sources” for a master’s degree in Franciscan studies from St. Bonaventure University in New York. Elphick also has a master's degree in Religious Studies from Mundelein College in Chicago and a Doctorate in Ministry from Graduate Theological Foundation with a focus in ecumenism.

___
Related links:

Saints Bernard of Clairvaux and Malachy: Honey-tongued abbot and the archbishop he loved

Francis of Assisi’s queer side revealed by historical evidence

John the Evangelist: Beloved Disciple of Jesus

Blessed Bernardo de Hoyos: Mystical same-sex marriage with Jesus

"The Sexuality of Christ in Renaissance Art and in Modern Oblivion" by Leo Steinberg. University of Chicago Press, 1996. This is the definitive work on the subject, with 300 illustrations.
____
This post is part of the Queer Christ series at Jesus in Love. The series gathers together visions of the queer Christ as presented by artists, writers, theologians and others.

Black Jesus appears in liberating new art book “The Way of the Cross”

April 10, 2014, 10:40 am

≫ Next: Gay Passion of Christ series starts Sunday

≪ Previous: Mystical same-sex marriage affirmed in Renaissance art and new book "Saintly Brides and Bridegrooms”

$

0

0

“15. The Resurrection” by Janet McKenzie

A black Jesus lives, dies and rises again in “The Way of the Cross,” a new book with art by Janet McKenzie and text by Joan Chittister.

The book is wonderful for personal reflections, especially during Holy Week, which begins this Sunday. It strikes just the right chord for the Passion of Christ today. The optimistic undertone builds to a joyous yet solemn vision of the risen Christ, welcoming with wounded hands as he gazes lovingly at the viewer.

McKenzie, a Vermont artist, got international acclaim (and hate mail) for confronting stereotypes about race and gender when she painted the androgynous “Jesus of the People.” In 1999 it won the National Catholic Reporter’s contest to find an image of Jesus for the new millennium, judged by Sister Wendy Beckett.

The artist used an African American woman as model for “Jesus of the People,” but a mixed-race man modeled for Christ in her “Way of the Cross.” His African American and Caucasian roots are manifest in different ways in each painting.

Chittister, a Benedictine nun and popular author, gives a progressive interpretation to the Passion in her reflections, emphasizing that the cross is a symbol for the suffering of all people. She engages the reader with haunting questions such as: “What crosses do you yourself take on, knowing the risk, understanding the cost and being committed to the consequences?” (p. 25).

An odd omission is the lack of explanation about the book’s most radical aspect: Envisioning Jesus as black. Chittister says nothing about it, leaving it to the viewer make the connection expressed by theologian James Cone: “The blackness of God means that God has made the oppressed condition God's own condition” (quoted from the book “A Black Theology of Liberation.”)

McKenzie explained more in an interview with the Jesus in Love Blog: “There has been little mention of the racial identity of the subjects, unlike my painting ‘Jesus of the People,’ which created such controversy. This lack of commentary on the racial aspect makes me hopeful that finally it is accepted, even celebrated, that we are all created equally, lovingly and beautifully in God's likeness.”

Chittister includes LGBTQ people in her compassionate vision. Her commentary on the 6th station praises Veronica for reaching out to wipe the sweat and grime off the face of Jesus as he stumbles under the cross. She adds, “It’s a false zeal that focuses on the addiction but ignores the addict, that calls others to family values but gives no child beyond our own a helping hand, that deplores discrimination but ignores gays and lesbians.”

“12. Jesus Dies on the Cross” by Janet McKenzie

The book follows the Stations of the Cross, a set of artistic images developed by 4th-century pilgrims retracing Jesus’ footsteps in Jerusalem. Chittister takes pains to find a positive message in each of the 14 traditional Stations of the Cross, transforming what can be a grim subject into something “that reminds us again that there is new life at the end of every daily death.” (p. 13). Indeed the book is subtitled “The Path to New Life.” It concludes with the innovative 15th Station, which was added in recent decades to show the resurrection. In McKenzie’s version Jesus’ eyes are closed until the very last image.

McKenzie is known for her paintings of women, and some of the book’s strongest images show Jesus interacting with women: meeting his mother, engaging the weeping women of Jerusalem, being cradled by his mother in an understated modern pieta. “The subjects for Mary and Jesus are mother and son in life, and I believe their profound love for one another is visible, as the love between Mary and Jesus surely was,” McKenzie told the Jesus in Love Blog.

“4. Jesus Meets His Mother" by Janet McKenzie

The artist and writer seem to have worked independently, for the text makes no reference at all to the imagery in the paintings. The commentary could go with any Stations of the Cross, whether with these images, other images, or no images at all. It is up to the readers to create synergy between word and image in their own hearts and minds.

McKenzie builds luminous images by incorporating drawing and line into he oil paintings. All the backgrounds of her Stations are nondescript, giving them an eternal quality outside of ordinary space and time. Most are in meditative shades of mauve and lavender.

Each in their own ways the artist and author express a mature spirituality and a depth of understanding about the cross and its implications. It provides many insights about aspects of life that are not usually associated with the Passion of Christ.

The original paintings, each measuring 22 by 28 inches, will be displayed at the Cathedral Church of St. Paul in Boston during Holy Week, which coincides with the one-year anniversary of the Boston Marathon bombing. The first exhibition of the new Stations series took place earlier in 2014 with the Dominican Sisters of Sinsinawa, Wisconsin. Between April 1 and Holy Week, they are on view in Arlington, Massachusetts with the Sisters of St. Anne-Bethany.

A profile of McKenzie is included in my book “Art That Dares: Gay Jesus, Woman Christ, and More.” It is filled with color images by 11 contemporary artists from the United States and Europe. Many had their work censored or destroyed for daring to show Jesus in liberating new ways. The artists tell the stories behind the images, and my introduction puts them into political and historical context, exploring issues of blasphemy and artistic freedom.

My next book will also present contemporary art that takes a liberating look at the Way of the Cross. “The Passion of Christ: A Gay Vision” with paintings by Douglas Blanchard will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

___
Related links:
Janet McKenzie: Conservatives blast inclusive Christmas card

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts

Gay Passion of Christ series starts Sunday

April 12, 2014, 12:10 am

≫ Next: Day 1: Jesus with the prophets (Gay Passion of Christ series)

≪ Previous: Black Jesus appears in liberating new art book “The Way of the Cross”

$

0

0

“The Passion of Christ: A Gay Vision” by Douglas Blanchard on display (Photo by Dorie Hagler)

A gay vision of Christ’s Passion starts this Sunday here at the Jesus in Love Blog. New posts will run daily from Palm Sunday through Easter.

All 24 paintings in Douglas Blanchard’s “The Passion of Christ: A Gay Vision” will be posted here with commentary by Kittredge Cherry and short Bible passages.

The paintings present Jesus as a contemporary gay man in a modern city as he lives out the dramatic events of Palm Sunday, the Last Supper, and his arrest, trial, crucifixion and resurrection.

Click the titles below to view individual paintings and text in the series. Links will be added as the series is posted.

1. Son of Man (Human One) with Job and Isaiah
2. Jesus Enters the City
3. Jesus Drives Out the Money Changers
4. Jesus Preaches in the Temple
5. The Last Supper
6. Jesus Prays Alone
7. Jesus Is Arrested
8. Jesus Before the Priests
9. Jesus Before the Magistrate
10. Jesus Before the People
11. Jesus Before the Soldiers
12. Jesus Is Beaten
13. Jesus Goes to His Execution
14. Jesus Is Nailed to the Cross
15. Jesus Dies
16. Jesus Is Buried
17. Jesus Among the Dead
18. Jesus Rises
19. Jesus Appears to Mary
20. Jesus Appears at Emmaus
21. Jesus Appears to His Friends
22. Jesus Returns to God
23. The Holy Spirit Arrives
24. The Trinity

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog.

The Holy Week posts are timed so that Christ dies on Good Friday and rises again on Easter itself.

New book "The Passion of Christ: A Gay Vision

Blanchard’s images show Jesus being jeered by fundamentalists, tortured by Marine look-alikes and rising again to enjoy homoerotic moments with God and friends. He stands up to priests, businessmen, lawyers, and soldiers—all of whom look eerily similar to the people holding those jobs today. His surprisingly diverse friends join him on a journey from suffering to freedom.

Blanchard, a gay painter based in New York, and Cherry, a lesbian author and art historian in Los Angeles, have turned this series into a book. “The Passion of Christ: A Gay Vision” with Blanchard's paintings and Cherry's text will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

“We are sharing the gay Passion series to make Christ more accessible to gay, lesbian, bisexual and transgender people and our allies,” said Cherry, founder of JesusInLove.org. The website promotes artistic and religious freedom by supporting LGBT spirituality and the arts. “Christ’s story is for everyone, but queer people often feel left out because conservatives use Christian rhetoric to justify hate and discrimination,” she said.

Cherry was ordained by Metropolitan Community Churches and served as its National Ecumenical Officer, advocating for LGBT rights at the National Council of Churches and World Council of Churches. In 2005 she created Jesus in Love to support LGBT spirituality and the arts and show God’s love for all people, regardless of sexual orientation or gender identity. It has grown to include a popular blog, e-newsletter and website. She earned degrees in journalism and art history from the University of Iowa, and a master of divinity degree from Pacific School of Religion.

“Doug takes the most important narrative in Western culture and rescues it from fundamentalists and also from over-familiarity,” Cherry said. “The purpose of reflecting on the Passion is not necessarily to worship Christ, but to remember with compassion the endless crosses upon which people continue to be crucified, and to seek a way to move from suffering to freedom.”

Blanchard teaches art and art history at the Bronx Community College of the City University of New York. He was confirmed in the Episcopal Church in 1982 and remains an active Episcopalian and self-described “very agnostic believer.” He earned a BFA in painting from the Kansas City Art Institute, an MA in art history from Washington University in St. Louis, and an MFA cum laude from the New York Academy of Art.

He spent four years painting the gay Passion. He started in summer 2001, but it took on new meaning on Sept. 11 when hijacked planes crashed into the World Trade Center near his studio on New York’s Lower East Side.

“I understand that a lot of people rediscovered religious faith after September 11th. I had the opposite reaction,” Blanchard said. “I was horrified by the religious motivation of those attacks.” He used the paintings to address this conflict, concluding that Christ’s resurrection reverses the “grim arithmetic of power.”

The gay Jesus himself appears surprisingly accessible in Blanchard’s art. “I didn’t want him to seem in any way remote and unapproachably sacred,” he explained. Each of the Passion pictures is oil on wood panel, 18 inches by 14 inches.  Some originals are available for purchase.

Prints and cards of Blanchard's Passion are available

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Selections from Blanchard’s Passion appear in “Art That Dares: Gay Jesus, Woman Christ, and More” by Kittredge Cherry. “Art That Dares,” a Lambda Literary Award finalist, is filled with color images by 11 contemporary artists from the U.S. and Europe.

The New York Times Book Review praised Cherry’s “very graceful, erudite” writing style. She has written six books, including “Equal Rites: Lesbian and Gay Worship, Ceremonies, and Celebrations” and “Jesus in Love: A Novel.”

___
Related links for “The Passion of Christ: A Gay Vision”:

*Book

*Email list

*Blog series

*Prints and greeting cards

___
Other links:

“Stations of the Cross: The Struggle for LGBT Equality” by Mary Button with commentary by Kittredge Cherry

Excerpts from "Jesus in Love: At the Cross" by Kittredge Cherry

Trans Passion narrative by Anarchist Reverend Shannon Kearns

Made In God's Image: Stations of the Cross for Inclusive and Affirming Communities by Rev. Janine C. Stock

Black Jesus appears in liberating new art book “The Way of the Cross” (art by Janet McKenzie)

Crucified Christa embodies female Christ (by Nicola Slee)
___
This post is part of the Queer Christ series series by Kittredge Cherry at the Jesus in Love Blog. The series gathers together visions of the queer Christ as presented by artists, writers, theologians and others.

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts

Day 1: Jesus with the prophets (Gay Passion of Christ series)

April 13, 2014, 9:13 am

≫ Next: Day 1: Jesus Enters the City on Palm Sunday (Gay Passion of Christ series)

≪ Previous: Gay Passion of Christ series starts Sunday

$

0

0

1. The Son of Man with Job and Isaiah (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“God has sent me to bind up the brokenhearted, to proclaim liberty to the captives, and the opening of the prison to those who are bound.” -- Isaiah 61:1 (Inclusive Language Lectionary)

A contemporary Jesus arrives as a prisoner in the painting that launches the series “The Passion of Christ: A Gay Vision” by Douglas Blanchard. Jesus stands half-naked in blue jeans and handcuffs, attractive even in adversity. Blanchard paints an accessible Jesus that 21st-century readers can know and touch in his Passion series. The 24 paintings portray Jesus as a gay man of today in a modern city, experiencing the events of Palm Sunday, the Last Supper, and his arrest, trial, crucifixion and resurrection. The beardless young Christ is unfamiliar to modern eyes, but Blanchard harkens back to the most ancient images of Jesus. The gay vision of Christ’s Passion promises to address the suffering of queer people today -- and thereby speak to the human condition. Christ the liberator comes as a prisoner. With this first painting, the stage is set and the viewer is invited to join Jesus on a journey that leads from prison to paradise.

God’s solidarity with people amid human suffering is emphasized from the first image in Blanchard’s Passion series. The pathway from bondage to freedom leads through the Passion, moving from death to new life. The word “passion” comes from the Latin word for suffering, and has become a theological term for the hardships that Jesus experienced in the week before his death.

Jesus shares his dark prison cell with a pair of older men in “The Son of Man (Human One) with Job and Isaiah.” His warm, pink flesh is bleeding. In a modern form of dehumanization, Jesus is labeled with a number, “124,” hanging on a tag around his neck. A barred window behind an arch gives him a crude halo. His queer identity is not apparent, as often happens with contemporary lesbian, gay, bisexual, and transgendered (LGBT) people. The title of this painting refers to Jesus as “Son of Man,” a mysterious, multi-purpose phrase that is translated as “Human One” in gender-inclusive language. Names painted on the sides of the frame identify his two companions as Job and Isaiah, prophets from the Hebrew scriptures. Their presence signals that themes of suffering and redemption will run through this series.

Blanchard, a gay artist based in New York, painted this scene at the dawn of the new millennium in summer 2001. His Lower East Side studio was only a couple of miles away from the World Trade Center. Little did he know that a few months later, on September 11, a terrorist attack there would make him confront suffering and death in a 21st-century Passion. Blanchard used the series to wrestle with his faith in the aftermath of 9/11.

The opening image is also one of the most cryptic paintings in the series. It may be tempting to skip over it and jump ahead to the next scene, where Jesus enters the city. Even the prophets turn their faces away. Job seems unable to bear seeing the bloody martyr in chains, while Isaiah appears to be lost in thought. Together the three men form a kind of Trinity. A close look reveals a surprise: The ancient prophets are wearing modern suits under their robes. The lapel of a business suit is visible beneath Job’s ancient garment, and the fringes of Isaiah’s robe dangle over modern shoes. They present a message for today clothed in an archetypal story from long ago. Jesus faces the viewer with a full frontal gaze, ready to engage in dialogue. But he doesn’t say a word. He carries nothing, no stone tablets -- not even a tablet computer. Jesus himself is the message. Just by being here, he proclaims freedom.

Both Job and Isaiah are associated with suffering. Job was a righteous man who kept his faith despite horrible calamities. Throughout the whole Book of Job he wrestles with the question: Why do bad things happen to good people? A major theme in the Book of Isaiah is God’s Suffering Servant or “Man of Sorrows” who brings justice, but is abused and rejected.

Jesus chose to quote Isaiah when he launched his public ministry. He told the people at the synagogue in Nazareth that he was fulfilling this prophecy: “The Spirit of God is upon me, because God has anointed me to preach good news to the poor, and has sent me to proclaim release to the captives and recovering of sight to the blind, to set at liberty those who are oppressed.” (Luke 4:18; Isaiah 61:1) Isaiah also is known for his prophecy about a savior named Immanuel, which is Hebrew for “God with Us.” Christians believe these prophecies pointed to Jesus, the compassionate follower of God who was crucified. The New Testament describes how Christ emptied himself and took human form, living among us as the Word made flesh.

Jesus, Job, and Isaiah all used the phrase translated as “Son of Man” or “Human One.” It can mean a generic human being (male or female) or a divine ruler envisioned by the prophet Daniel. Jesus often referred to himself as “son of man,” thereby emphasizing his own humanity and perhaps also invoking ancient prophecies of a messiah. By using “Son of Man” in the title, Blanchard underscores the humanity of Jesus while honoring his divinity. Blanchard’s choice of words reveals that this vision is progressive but not necessarily politically correct. His Jesus remains unapologetically male.

The scene of Jesus in jail with Job and Isaiah does not occur in scripture, leaving room for the viewer to speculate. Is Jesus arriving in prison or leaving? Maybe the painting represents Jesus’ own vision while he prayed in prison before he was sentenced to death. He may have remembered the ancient prophets as the crowds outside shouted for his death -- just a week after they roared their approval when he entered the city. Or does it show how society locks away today’s prophets along with those of the past?

The prison scene is an enigmatic prelude for the “gay vision” proclaimed in the subtitle of the series. Americans have been imprisoned for homosexual acts within living memory. The last sodomy laws in the United States were not overturned until 2003. Consensual homosexual acts remain a crime in many countries and a few still impose the death penalty. Many queers still imprison themselves in self-imposed mental closets.

Early Christian artists commonly pictured Jesus as a youthful Good Shepherd without a beard. The bearded Christ motif developed around the sixth century. The crucifixion images that dominate current Christian thought didn’t arise until a thousand years after he died. A Jesus in modern dress may come as a surprise, but he promised his disciples, “Lo, I am with you always.” [Matthew 28:20 RSV]

Artists almost never portray Jesus in prison. A rare exception is 19th-century French painter James Tissot. He painted Jesus with hands lifted in prayer, chained to a stone between two sleeping guards in “Good Friday Morning: Jesus in Prison.” Likewise Belgian surrealist Rene Magritte is one of the few artists in history who ever attempted to give visual form to the phrase “Son of Man.” His famous “Son of Man” is a self portrait of the artist in a suit with an oversized apple covering his face.

The gay Passion series operates on two levels as a story within a story. The first and last paintings function like bookends, putting the gospel narrative into a larger context not limited by time and space. For those who take time to decode the rich symbolism of this painting, it foreshadows and sums up the whole series. This will be no ordinary Stations of the Cross, with a hopelessly distant Jesus moving predictably from trial to tomb. Blanchard’s vision is broader. With this first painting, Blanchard honors human suffering by invoking major Biblical models of Christ: the Son of Man / Human One, the Suffering Servant, and Immanuel. As the averted eyes of Job and Isaiah indicate, many prophets desired to see the freedom embodied by Christ, but did not. Viewers are blessed with the chance to see it played out as the gay vision of the Passion unfolds.

“And the Word became flesh and dwelt among us, full of grace and truth.” -- John 1:14 (RSV)

Jesus was one of us, a real human being. He loved everybody, including his enemies. And yet some say that LGBT people don’t belong in the story of Jesus Christ. There’s black Jesus, Asian Jesus -- and now gay Jesus to heal the hate and discrimination done in Christ’s name. This is the story of a Jesus who emphasized his humanity by calling himself the Human One.* He doesn’t look very gay. Young and attractive, he can pass for straight. He is fully in the present, yet feels kinship with the ancient prophets Job and Isaiah who understood suffering. He wanted to serve God by healing people and setting them free. Here we remember his last days, his death and his resurrection. Jesus was a child of God who embodied love so completely that he transcended death. But while it was all happening, people didn’t understand. Society rejected him. They locked the liberator in prison.

Jesus, show me how you lived and loved.

*Son of Man can be translated as Human One.

___

New book "The Passion of Christ: A Gay Vision Get info

This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Prints and cards of Blanchard's Passion are available

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Scripture quotations are from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Scripture quotations are from the Inclusive Language Lectionary (Year C), copyright © 1985-88 National Council of the Churches of Christ in the United States of America.

Day 1: Jesus Enters the City on Palm Sunday (Gay Passion of Christ series)

April 13, 2014, 9:17 am

≫ Next: Day 2: Jesus drives out the money changers and preaches in the Temple (Gay Passion of Christ series)

≪ Previous: Day 1: Jesus with the prophets (Gay Passion of Christ series)

$

0

0

2 Jesus Enters the City(from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“And when he entered Jerusalem, all the city was stirred, saying, ‘Who is this?’ And the crowds said, ‘This is the prophet Jesus.’” --Matthew 21:10-11 (RSV)

A crowd marches under an arch with a charismatic young man on horseback in “Jesus Enters the City” from “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. Signs for “freedom” and “justice” make it a rally for almost any cause, from marriage equality and LGBT rights to the Occupy movement or the Tea Party. The masses adore Jesus as if he was a rock star or political leader. They stretch their hands up to him, grasping for the savior that they expect him to be. The group expresses 21st-century diversity: male and female, multi-racial, young and old, queer and straight, able-bodied and wheelchair-bound. A mother and daughter lead the way, along with a black man who holds the horse’s reins. In the middle of this “triumph,” Jesus bends down to be embraced by someone unnoticed and out of view. He is focused on something that others ignore. By passing through the arch, Jesus leaves his old life behind to meet the new challenges ahead.

Arms raised, the people rejoice, but the sky is grey and they are not united. Their signs droop or get blocked, making them hard to read. Each person looks in a different direction, never making eye contact. As the Passion story begins, Jesus seems disconnected from the passions he stirs in others. The seeds of conflict are already planted. The group marches forward, about to step right out of the picture frame. The viewer can’t see what Jesus sees, and the oncoming crowd will force viewers to make a decision: join in, back off, or get trampled underfoot. Light from the arch forms a lopsided halo behind his head.

There are no palms in Blanchard’s generic cityscape, but this is an updated vision of Palm Sunday, which commemorates Jesus’ entry into Jerusalem. All four gospels describe how Jesus entered Roman-occupied Jerusalem at the height of his popularity. Enthusiastic fans greeted him by laying palm branches on the ground before him and shouting “Hosanna,” which translates as “Save us now!” Huge crowds were gathering in Jerusalem for the Jewish festival of Passover. They saw Jesus as a political deliverer who came to fulfill the ancient prophecies of a messiah: an earthly king anointed by God. His arrival on a donkey reminded them of the victory processions of ancestral kings descended from David. They mistakenly thought that Jesus was declaring himself king of Israel, ready to lead a rebellion against the Roman army. Palm Sunday hints at the trade-offs that people make in the pursuit of power. As the crowds marched into Jerusalem with Jesus, they were already on the path that would lead to his destruction. Their movement was gaining momentum on a trajectory that could not be altered or stopped. “If these were silent, the very stones would cry out,” (Luke 19:40 RSV) Jesus told the traditionalists who wanted him to quiet the crowd.

Jesus’ triumphant entry foreshadows the emptiness and impermanence of earthly glory. Luke’s gospel says that Jesus wept over the city when his procession got close to Jerusalem, the center of Jewish religious and national life. More than once in the Bible he lamented over Jerusalem’s inability to recognize God’s prophets. He longed to gather its people together “as a hen gathers her brood under her wings,” but they refused. Jesus signaled a power not of this world, while they sought worldly power. He was surrounded by adoring crowds on the way to Jerusalem, but they were not the true community that would be forged by the hardships ahead. Every hero’s journey begins with entry into a new place. On Palm Sunday Jesus leaves behind his old life as an itinerant teacher and healer, crossing through a gateway to face death itself for the good of all.

Jesus’ entry into Jerusalem is one of the oldest Christian images. It can be found among the earliest Christian artworks in the catacombs of Rome, where the fourth-century sarcophagus of Junius Bassus shows Jesus riding into Jerusalem on a donkey. The image follows a tradition in Roman Imperial art of depicting the formal arrival (adventus) of the emperor into a city during or after a military campaign. Christ entering Jerusalem has been portrayed by many great artists from the Middle Ages to the Baroque era. One of the oldest and best known versions is a fresco painted by Giotto in 1305 at the Arena Chapel in Padua. German Renaissance artist Albrect Durer engraved it in his Small Passion series, which Blanchard acknowledges as a source for his gay vision of the Passion. But the scene is omitted from the traditional Stations of the Cross, which instead starts days later when Jesus is condemned to death. Modern artists have mostly ignored Palm Sunday in favor of other episodes from the life of Christ. An exception is Swedish photographer Elisabeth Ohlson Wallin. She re-envisioned Jesus’ life in a contemporary LGBT setting with notorious series named “Ecce Homo.” Her version of “Arrival in Jerusalem” shows Jesus riding a bicycle in Stockholm’s festive LGBT Pride Parade.

Crowd scenes are one of Blanchard’s strengths as an artist. He makes fine use of that talent in “Jesus Enters the City,” which is of the most popular images in his whole Passion series. He can capture a crowd’s unruly movements almost like a stop-action camera. Indeed while working on this series, the artist studied Charles Moore’s photos of the American civil rights movement. Blanchard paints each face in the crowd as a unique individual. For example the young man in a spiky mohawk carrying the “justice” sign on the right looks like he just stepped out of a LGBT Pride march. Most artists from history have shown Jesus marching through the gate in profile or three-quarter view, but Blanchard takes the unusual step of making Jesus head straight at the viewer.

Triumphal arches were invented by the ancient Romans and remain one their most influential architectural forms. The arch in this painting is a simplified version of the Washington Square Arch in New York City, where Blanchard has lived since 1991. It is a landmark in Greenwich Village, an artsy neighborhood with a nonconformist tradition. That arch was in turn based on the first-century Arch of Titus in Rome, which also inspired the Arc de Triomphe in Paris. The Arch of Titus was built to commemorate the seige of Jerusalem, yet ironically in this painting it serves as the gateway to Jerusalem for the doomed Jesus. The Arc de Triomphe played a role in military victory rallies for rulers from Napoleon to Hitler. In 1999 a new version aggrandized a contemporary kind of empire: a Las Vegas casino. All of these arches stand for material power, and thereby hint at its transience as times change.

Arriving in a city is often an LGBT rite of passage. Many queer people leave their homes to find freedom in an urban mecca where they congregate and form their own communities. Marching in an LGBT Pride parade for the first time is an experience not unlike Jesus’ triumphal entry. Pride marches celebrate LGBT culture and serve as demonstrations for equal rights. Like Jesus’ arrival in Jerusalem, Pride parades are raucous, wildly joyful celebrations -- and they mask internal divisions. There can be tension between outlandish drags queens and those who want to look respectable and assimilate into the mainstream. The LGBT community is not immune from the dangers that have plagued underprivileged groups since before Jesus’ time: In the quest to gain political power, communities can lose touch with the true power that they already have through their unique culture, shared history, and connection with each other.

In Christian tradition, Palm Sunday marks the beginning of Holy Week, a period of reflection on Christ’s Passion leading up to Easter. With this second painting in the series, Blanchard dives into the ambitious project of retelling the Passion story in a contemporary urban setting, and the action will not stop until the final painting. Let the adventure begin!

“Open to me the gates of righteousness, that I may enter through them and give thanks to God.” -- Psalm 118:19 (Inclusive Language Lectionary)

Everyone cheered when Jesus called for justice and freedom. Crowds followed him into the city, shouting and waving palm leaves. Their chants were not so different from ours: “Yes we can! Out of the closet and into the streets! We’re here, we’re queer, get used to it!” Jesus was a superstar making a grand entrance. But he did it in his own modest, gentle style. He surprised people by riding on a donkey. Some of his supporters, those who had mainstream success, urged him to quiet the others -- assimilate, don’t alienate. Tone it down. Act respectable, don’t demand respect. Stop flaunting it. His answer: I’m here to liberate people! If the crowds were silent, the stones would cry out! It was that kind of day, a Palm Sunday sort of day, when everyone shouted for equality and freedom. But was anybody still listening?

Christ, set me free!

New book "The Passion of Christ: A Gay Vision Get info

This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Prints and cards of Blanchard's Passion are available

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Scripture quotations are from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Scripture quotations are from the Inclusive Language Lectionary, copyright © 1985-88 National Council of the Churches of Christ in the United States of America.

---

Day 2: Jesus drives out the money changers and preaches in the Temple (Gay Passion of Christ series)

April 14, 2014, 8:27 am

≫ Next: Day 3: Jesus has a Last Supper, prays alone and is arrested (Gay Passion of Christ series)

≪ Previous: Day 1: Jesus Enters the City on Palm Sunday (Gay Passion of Christ series)

$

0

0

3. Jesus Drives Out the Money Changers (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“He poured out the coins of the money-changers and overturned their tables.” -- John 2:13 (RSV)

An angry modern-day Christ figure disrupts business in “Jesus Drives Out the Money Changers.” Jesus, hair flying, overturns tables stacked with money. Coins scatter, bills flutter away, and the men in suits run. A crowd in the background yanks off the barred gate that separates them from the wealthy money managers. One security guard struggles to keep out the mob. Another officer reaches to grab Jesus by the shoulder. Jesus looks like a freedom fighter standing up against greed and income inequality. The setting appears to be a present-day church office or financial institution with statues, classic columns, and a hanging lamp.

All four gospels describe what is commonly called “the cleansing of the temple.” By some accounts Jesus kicked the money changers out of the Temple as soon as he arrived in Jerusalem. When he saw them taking advantage of people’s faith in God, he exploded. It was the only time that Jesus used physical violence in the Bible. Jesus poured out the coins of the money changers and turned over their tables. Then he made a whip of cords and used it to chase them out, along with the sacrificial animals that they were selling. Nothing made Jesus angrier than religious hypocrisy. He yelled, “My house shall be called a house of prayer, but you make it a den of robbers.” It was one of many occasions when he blasted religious leaders for exploiting the poor. He talked more about money than anything else except God.

Blanchard is right to paint this scene in a place that could be a bank or a church because the Temple in Jerusalem was not only a religious institution, but also functioned like a national bank. The Temple held private deposits of wealth in its treasury, made loans, and collected debts as well as selling animals for sacrifice. The money changers of first-century Jerusalem exchanged foreign currency for the temple coins that were required for paying the annual temple tax and making offerings. They made big profits by using unfair exchange rates and adding service charges. Priests also got a cut.

Jesus’ angry outburst has fascinated artists since the Middle Ages. Their paintings of the episode go by various names, such as the purification of the temple, the expulsion of the money changers, or driving the merchants from the temple. Renaissance master El Greco painted at least five versions. But overall the angry Jesus has been downplayed in favor of the other events from the life of Christ. Modern artists mostly ignore the subject. Blanchard is perhaps the only artist to paint a “gay vision” of the day that Jesus fought back against the merchants who turned the holy temple into a marketplace.

Perhaps other LGBT versions of Jesus expelling the money-changers come not from art, but from action. The protest looks like a scene from Occupy Wall Street, although it was painted a decade before that movement began. Blanchard’s Jesus could be angry about the growing gap between the wealthy one percent and the other 99 percent, or about fundraising tactics that demonize LGBT people, or about countless other forms of economic injustice.

“It is written, ‘My house shall be called a house of prayer,’ but you make it a den of robbers.” -- Matthew 21:13 (RSV)

Jesus acted up when he saw something wrong. Nothing made him angrier than religious hypocrisy blocking the way to God. He got mad when religious leaders made people pay to attend worship. He said, you can’t buy your way to heaven! Everyone gets God for free. Don’t trick a poor widow into giving her last penny! The sacrifice that pleases God is to do justice and love people. Oh sure, you can raise tons of money by claiming that some other group is an unholy threat: lepers, immigrants, queer. But remember, whatever you do to the least of these, you do to me! Stop demonizing people! You call gays an abomination, but your fundraising tactics are the real abomination! Hypocrites! You’re like fancy tombs, pretty on the outside, but full of death on the inside. Then he turned over the tables where the men in suits made their unholy profits. Coins went flying as he drove them out.

Jesus, thank you for your anger. Give me the courage to act up against injustice.

___

4. Jesus Preaches in the Temple (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“The chief priests…feared him, because all the multitude was astonished at his teaching.” -- Mark 11:18 (RSV)

A popular teacher distracts church-goers from a worship service in “Jesus Preaches in the Temple.” Jesus, looking like an urban hipster, welcomes the people who crowd around and touch him. The title states that Jesus is preaching, but he stands quietly among them, mouth closed, communicating compassion with his presence. Blue tones conjure a peaceful mood, but there is tension between the upstart preacher and the religious establishment, between the individual and the institution.

This painting raises the question: What would happen if Jesus walked into a church of today? The general consensus is that he would disrupt the established order. Not many Christians would stay meekly in their pews and settle for stale sermons and wafers if they had the chance to see, hear, and touch the living Christ. Those who gain power by speaking for Jesus might prefer to keep him away.

The individualized faces and gestures of Jesus’ listeners invite speculation about their lives. Two gay couples wrap Jesus in a loving embrace: a white couple on the left and a black couple on the right. Jesus puts his arm around one of the blacks while shaking hands with -- and perhaps healing -- the bald man in the wheelchair. Even the cool guys are drawn to Jesus: one with a spiky mohawk and another smoking a cigarette. Others sit in front, just wanting to be near Jesus: A mother and daughter on the left, and on the right a downcast figure in red high heels. Her tall, awkward body suggests a drag queen or a transwoman.

Large pillars and arches hint that they are in the aisle of a modern cathedral. Far in the distance on the left, a row of priests carries candles or shiny processional crosses, as happens in a contemporary cathedral during worship. But many congregants are more interested in Jesus. A man peeks around the pillar on the back right to see who is causing all the excitement.

Not everyone is pleased to see the charismatic newcomer. Two bald men eavesdrop, arms crossed. Their suits suggest that they are businessmen, but they could easily be church bureaucrats. They look like the money changers who were attacked by Jesus in the previous painting. This pair might even be another gay couple, but a conservative and perhaps closeted duo with a stake in the status quo. Whatever their identity, they are the modern counterparts of the elders, scribes, lawyers, priests and Pharisees in the Bible who observed Jesus in the temple, looking for a way to destroy him.

It’s possible to guess what Jesus might be saying in this painting by reading the lengthy Biblical accounts of his preaching. The two-fold message that the Biblical Jesus taught was love and justice. Blanchard’s “Jesus Preaches in the Temple” balances the previous image of Jesus driving out the moneychangers. He stood for justice against the money changers before, and here he stands for love. The Bible records much of what Jesus taught, but he himself said the most important lesson was this: Love God with all your heart, and love your neighbor as yourself.

One subject that Jesus never discussed directly was homosexuality. He certainly didn’t condemn it in the Bible. He may even have implied that LGBT people are born that way when he said, “There are eunuchs who have been so from birth.” (Matthew 19:12) Some progressive Bible scholars believe that Jesus used an ancient term for LGBT people when he talked about eunuchs. The term translated as “eunuch” probably included not just castrated men, but also a variety of sexual minorities that today would be called LGBT or queer.

Images of Jesus or teaching in the temple are relatively rare in art history. Even Renaissance master Albrecht Durer, whose Small Passion contains no less than 38 engravings, did not include such a scene. The drama of Jesus’ crucifixion tends to overshadow the content of his teachings, but Blanchard reminds viewers that Christ illumined the world not just by the way he died, but by how he lived and what he taught.

“All the people hung upon his words.” -- Luke 19:47-48 (RSV)

All kinds of people crowded around: male and female, young and old, rich and poor, healthy and sick, people from every race and nation -- and the queer ones: women who acted like men, men who acted like women, those who loved someone of the same sex, those with bodies somewhere between male and female. People lumped all of the queers together and called them “eunuchs.” Jesus said some of us were born eunuchs, some were made into eunuchs by others, and some made themselves into eunuchs. He never spoke a word against homosexuality. He just taught about love: Love God, love your neighbor as yourself, love your enemies. Religious leaders felt threatened by his absolute love, but his words and his touched and healed people. The religious leaders listened too -- hoping he would say something that they could use to silence him.

Christ, teach me, touch me!

More resources:
Homosexual Eunuchs - Did You Know That Some Eunuchs Were Gay Men Or Lesbians? (GayChristian101.com)

___
This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Scripture quotations are from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Day 3: Jesus has a Last Supper, prays alone and is arrested (Gay Passion of Christ series)

April 15, 2014, 8:02 am

≫ Next: Day 4: Jesus before the priests, magistrate and people (Gay Passion of Christ series)

≪ Previous: Day 2: Jesus drives out the money changers and preaches in the Temple (Gay Passion of Christ series)

$

0

0

5. The Last Supper (from The Passion of Christ: A Gay Vision) by Douglas Blanchard
 Collection of Leslie-Lohman Museum of Gay and Lesbian Art
Gift of Vincent Palange in memory of Louis Prudenti

““And during supper…one of his disciples, whom Jesus loved, was lying close to the breast of Jesus.” -- -- John 13:2, 23 (RSV)

Friends get together for an intimate dinner in “The Last Supper” from “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. The contemporary Christ figure dines with twelve people, the classic dozen disciples, but they are a multi-racial group of many ages, orientations, and gender identities. An elderly black woman sits beside a white businessman. A drag queen in high heels holds hands with a man. The face of Jesus looks almost the same as when he was preaching in the temple… impassive. He wraps his arms around the men beside him. The whole group is joined by touch, and yet they are not completely united. They express emotions ranging from surprise to sorrow, and each one looks in a different direction. Plates hold food for a Passover Seder meal, including matzo bread, a hard-boiled egg, and roast lamb. A single glass of blood-red wine stands out against the drab colors, hinting at the sacrifice to come. The room is simple, lit only by a bare light bulb. They are seated in a way that invites viewers to join them at the table.

All four gospels describe the final meal that Jesus ate with his disciples before he was arrested. Biblical accounts of the Last Supper are full of dramatic details and dialogue, making it possible to imagine what happened on that fateful night. Jesus announced to his startled disciples that one of them would betray him. They were shocked again when he identified the bread and wine as his own body and blood, urging them to eat and drink their share of it. By giving new meaning to the Passover meal, he helped prepare them for his impending death He summarized his teachings on love and gave them a new commandment: Love each other as I have loved you. He prayed for believers in the present and future. He told them that the greatest love is to lay down your life for your friends.

By inviting his friends to “do this in remembrance of me,” Jesus instituted a sacrament and invested all meals with a living sense of God’s presence. Christians relive the Last Supper every time they celebrate the ritual known as the Eucharist, communion, or Lord’s Supper. The sacred meal is a central act of worship in which believers remember Jesus and ingest God’s spirit. In Blanchard’s painting, one glass is still full of wine, meaning that Jesus hasn’t yet passed it to his friends, saying, “This cup is the new covenant in my blood.”

The man leaning his head on Jesus must be the unnamed “disciple whom Jesus loved.” The beloved disciple is referenced five times in the gospel of John. The term implies that Jesus was in love with him, and for centuries some interpreters have suggested they had a homosexual relationship. The Bible describes how the beloved rested his head on Jesus’ chest at the Last Supper. Blanchard puts them in a pose that echoes medieval paintings and sculptures, such as the 14th-century German Johannesminne (John Love) by the Master of Oberschwaben. Their same-sex attraction has been spotlighted by today’s LGBT-affirming artists and Bible scholars, but here their relationship blends naturally into the group. Some also enjoy speculating about the homoerotic undertones of the relationship between Jesus and Judas, the disciple who betrayed him. But that is not Blanchard’s focus. It’s not even possible to identify Judas in his Last Supper.

The Last Supper is one of the most popular (and most often parodied) subjects in art. Artists usually focus on either the announcement of the betrayal or else, like Blanchard, on the institution of the Eucharist. Depictions of the Last Supper date back to the earliest Christian frescoes in the second-century Catacombs of Rome, although some scholars say the supper scenes in the Catacombs show a future meal in heaven promised by Christ. For the first thousand years of Christian history artists tended to skip from the Last Supper to the resurrection. The Eucharist was celebrated as a feast of life instead of a re-enactment of his death. The bread and wine were not the crucified Christ, but the resurrected Christ. By the Renaissance it had become a favorite subject. Leonardo Da Vinci’s Last Supper from the 1490s continues to be one of the most famous paintings of all time. It has sparked a seemingly endless variety of imitations, from the sublime to the ridiculous. Some use it to make political statements, such as the all-female “Yo Mama’s Last Supper” by Jamaican-American artist Renee Cox and “The First Supper” by Susan Dorothea White of Australia. Modern interpretations of the Last Supper have been done by many renowned artists including Salvador Dali, who used surrealism and symmetry to portray the mystical meal.

By presenting a complex, up-to-date vision of the Last Supper, Blanchard makes room for viewers to inhabit a scene that may have grown monotonous from over-familiarity. Artists such as Elisabeth Ohlson Wallin and Becki Jayne Harrelson have created queer versions of the Last Supper by duplicating DaVinci’s famous composition and replacing the characters contemporary LGBT people. Blanchard goes further to re-conceive the whole composition. His queer touches include not only the beloved disciple, but also a drag queen in high heels. He puts her right up front as a courtesy. But his Last Supper is not a LGBT-only party. Queers are integrated into a mixed group. Jesus welcomes all kinds of people to the sacred meal where love connects people with God and each other, nourishing body and spirit. At the Last Supper Jesus taught his friends about love. Soon his own love would be tested.

“This is my body which is given for you. Do this in remembrance of me.” -- Luke 22:19 (RSV)

Jesus’ friends didn’t know it would be their last meal with him, even though he tried to prepare them. All his closest friends were there, including the man whom Jesus loved. Jesus snuggled his beloved and talked about love, and then about betrayal, and then a lot more about love. Jesus said he was going away and urged them all to love each other as he had loved them. The greatest love, he told them, is to lay down your life for your friends. He handed bread to them and said something totally unexpected: Take, eat; this is my body. Then he passed around a cup, saying, Drink, all of you, this is my blood. He gave and they received completely, an act of true communion. The wine tasted sweet, with a touch of bitterness.

Jesus, thank you for feeding me!

6. Jesus Prays Alone (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“He fell on the ground and prayed that, if it were possible, the hour might pass from him.” -- Mark 14:34

A man claws the ground with gut-wrenching spiritual agony in “Jesus Prays Alone.” His face is lost in darkness -- he could be anyone -- but his tortured hand is spotlighted front and center in stark relief. Jesus kneels, utterly alone, on a rooftop with trash cans and brick walls. This is the modern Gethsemane -- not a garden, but an urban jungle where a lone man wrestles with an impossible dilemma: betray his own beliefs or die. City lights glimmer against the night sky.

The simplicity of the image makes an immediate impact. It is the only painting in Blanchard’s Passion series where Jesus is alone. Even in death Jesus is shown with other corpses, but here everyone has deserted him, and God is not visible. The solitude is absolute. The painting stuns many viewers more than the explicitly violent scenes ahead. The artist captures Christ’s emotional distress and makes it up close and personal, leaving the viewer alone with Jesus. With this painting Blanchard borrows the high-contrast lighting, grim urban setting, and fatalistic mood from film noir, making an almost cinematic statement.

In the Bible, Jesus and his friends went to the secluded garden of Gethsemane after the Last Supper. He confided that he felt “deeply grieved, even to death” and asked his friends to pray with him, but they all fell asleep. Jesus knew that his ministry had brought him into conflict with authorities who would arrest and kill him. He was so upset that he sweated blood. And yet he chose not to escape the harrowing journey ahead. The doomed prophet would not deny what he believed by running away to hide. Abandoned by his sleepy friends, he was left alone to beg God over and over: “If possible, please remove this cup from me: yet, not what I want, but what you want.” The episode establishes that Jesus is not God’s puppet or a victim of circumstances, but a free agent making his own moral decisions.

“Jesus Prays Alone” marks a turning point in Blanchard’s own relationship to his Passion series, which he began painting in summer 2001. He had finished four panels on Sept. 11 when hijacked planes crashed into the World Trade Center near his studio on New York’s Lower East Side. He watched the terrorist attacks in shock from the roof of his apartment building in the East Village. Horrified by the religious motive for the 9/11 attacks, Blanchard became alienated from religion. The artist acknowledges that he began to use the Passion series to resolve his spiritual conflict. Jesus, with his own rooftop agony, takes on the sorrows that stretch to the 21st century.

Artists mostly ignored the scene of Jesus’ inner turmoil until the rise of individualism in the Renaissance. Then the subject, often called “The Agony in the Garden,” became increasingly popular. A notable modern version was painted by French Post-Impressionist Gauguin, whose poignant self-portrait in “Christ in the Garden of Olives” expresses his own pain over crushed ideals.

This scene can symbolize any spiritual anguish, including the struggles of LGBT people to reconcile their sexuality with their spirituality, to live as whole human beings even when church and society label them sinful or sick. In a world that often denies the value of queer lives, many LGBT people have felt utterly alone, trapped between denying themselves and confronting the “social death” of persecution and exclusion. Crouching in a back alley, the Jesus of today could be praying for a world where all God’s children are honored.

“And being in an agony he prayed more earnestly; and his sweat became like great drops of blood falling down upon the ground.” -- Luke 22:44 (RSV)

After supper, Jesus and his friends went to an isolated place. Jesus wanted to pray alone. He asked his friends to wait and pray nearby. He knew that his actions -- even his very existence -- brought him into inevitable conflict with authorities who wanted him dead. His wildly inclusive way of loving challenged the power structures and the status quo. But he could not deny who God created him to be. He wouldn’t stop loving. He couldn’t. He had to be true to himself. Authorities would condemn him as a sinner because his love broke all the rules. They would denounce his love as sin. They might even kill him. Jesus was in so much agony that he sweated blood as he prayed: God, if it’s possible, let this cup pass by me. I don’t want to drink it. Nevertheless, not my will, but yours be done.

Guide me, God! I put my life in your hands.

7. Jesus is Arrested (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

““Have you come out as against a robber, with swords and clubs to capture me?” -- Matthew 26:55 (RSV)

A young suspect stops his friends from fighting back when officers seize him in “Jesus is Arrested.” A disembodied hand points an accusing finger at Jesus from the left. Another hand aims a gun at him. A friend tries to defend him with a knife, but Jesus stops him. Flashlight beams and searchlights pierce the urban night, forming a partial halo behind Jesus’ head. Standing in the background, shrouded by darkness, is a bald man in a suit, probably one of the creeps who spied on Jesus at the temple. Dark silhouettes on the horizon show that many more guards are on the way. Jesus is caught off-balance in the cross of an X-shaped composition, adding to the dramatic tension.

The painting captures the moment when Jesus stops the violence, meeting hate with love by submitting to the unjustified arrest. Blanchard strips the scene of sentimentality by presenting it with gritty realism. The image gets a film-noir vibe from its stark black-and-white lighting and the sense that an innocent man is caught in a deadly web.

The arrest of Jesus is a pivotal scene that ends his public ministry and begins the chain of events leading to his execution. The gospels describe the action in quick succession: The traitor Judas arrives with a large squad of police, guards, and soldiers.  They are armed to the teeth with far more swords and clubs than necessary. Judas kisses Jesus, signaling the soldiers to arrest him with a particularly intimate gesture of betrayal. Another disciple counterattacks, drawing a sword to cut off the ear of the high priest’s servant. Jesus commands his companions to put away their swords. The soldiers seize Jesus and bind him. His disciples flee. A young man follows wearing only a linen cloth. The soldiers grab him, but he pulls free and he runs away naked. They lead Jesus to the high priest.

One surprise in this “gay vision” is what is missing: history’s most famous same-sex kiss, the kiss of betrayal between Judas and Jesus. Artists have been depicting the arrest of Jesus at least since Giotto’s famous 1305 version in Arena Chapel in Padua, and the Judas kiss is almost always included. Kissing was a common form of greeting in Biblical times, but Judas’ man-on-man kiss of betrayal has been used as a vehicle to instill homophobia for the centuries, equating homosexuality with betrayal of God. Blanchard must have figured that people have seen it way too often… although the Judas kiss remains a popular subject among LGBT artists and viewers. Blanchard also ignores another arrest subplot that fascinates many queer Bible scholars: the naked young man who runs away in Mark 14:51. Several books have been written debating the authenticity and meaning of the Secret Gospel of Mark, which tells how the young man “learned the mysteries of God” by spending a night naked with Jesus.

“Put your sword back into its place; for all who take the sword will perish by the sword.” -- Matthew 26:52 (RSV)

Jesus didn’t try to escape when the police came for him in the dead of night. He and his friends were used to police harassment and government persecution. Authorities tend to pick on the poorest, queerest, and most marginalized in any society. This time they came out in force, like a small army with bright lights and far more weapons than necessary. Some of them were security guards at the temple, so Jesus asked: Why didn’t you arrest me there, when I was with you teaching out in the open? They grabbed him. He didn’t resist arrest. His friends tried to fight for him, but he stopped them, saying that those who live by the sword will die by the sword. They ran away and abandoned him, leaving him alone with the police.

Jesus, why do bad things happen to good people?

___
This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Scripture quotation is from the Inclusive Language Lectionary (Year A), copyright © 1986 National Council of the Churches of Christ in the United States of America.
Scripture quotation is from the Inclusive Language Lectionary (Year C), copyright © 1985-88 National Council of the Churches of Christ in the United States of America.

Day 4: Jesus before the priests, magistrate and people (Gay Passion of Christ series)

April 16, 2014, 7:04 am

≫ Next: Sor Juana de la Cruz: Nun who loved a countess in 17th-century Mexico City

≪ Previous: Day 3: Jesus has a Last Supper, prays alone and is arrested (Gay Passion of Christ series)

$

0

0

8. Jesus Before the Priests (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“One of the officers standing by struck Jesus with his hand, saying, ‘Is that how you answer the high priest?’” -- John 18:22 (RSV)

A guard hits Jesus in a house of worship while clergymen do nothing, indifferent to the violence in “Jesus Before the Priests” from “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. The blow is so hard that Jesus doubles over. The guard’s dark sunglasses cannot hide his hateful grimace. A bespectacled priest looks up from an open Bible, but his bland face registers no concern for Jesus. Another cleric deliberately ignores the assault, studying his fingernails. Red carpet on the steps leads to an altar with candles. Watching from the back are more white-robed priests and men in business suits.

This is one of the more shocking images in Blanchard’s Passion series because it exposes blatant religious hypocrisy in an ordinary contemporary setting. The church and its ministers look familiar, maybe even comforting or boring. One might expect violence from police or soldiers on the streets, but not in a church sanctuary with approval from the priests. In the banality of evil, unspeakable acts are committed not by monsters, but by regular people who accept the premises of an institution and follow orders.

“Jesus Before the Priests” is based on the Biblical story of Jesus’ trial before Caiaphas, the high priest in the Jewish court of the Sanhedrin. After his arrest Jesus was judged first by his own people. He had threatened their power structure by living in a way that showed God is not confined to dogmatic boxes or controlled by religious institutions. The priests hurriedly called an emergency session of the Sanhedrin in the dead of night. The specific charge against Jesus was blasphemy. False witnesses were brought in to accuse him, but their testimony was inconsistent. During hours of questioning Jesus mostly kept quiet, giving only a few cryptic answers. Finally they declared him guilty. Then the priests spat in his face and beat him before hustling him off to the Roman authorities for sentencing.

The Sanhedrin trial has never been an especially popular subject in art history, but Blanchard finds the inherent drama in the scene by approaching it from a contemporary gay viewpoint. LGBT people often come into conflict with churches because of who they love. When viewed with queer eyes, this painting is a painful reminder that it feels like a slap in the face to be told that God condemns homosexuality or “hates the sin but loves the sinner.” LGBT people have been attacked with “clobber passages” from the Bible or tortured in “pray the gay away” therapy, also known as reparative or ex-gay conversion . While today’s LGBT artists mostly ignore the trial of Jesus, several have exposed the ancient purity laws that threaten queer people. For example, Swedish artist Elisabeth Ohlson Wallin photographed local LGBT people in Jerusalem with the dreaded scriptures projected on or near their bodies in her 2010 “Jerusalem” series.

Conservative Christians cherry-pick Bible verses from Leviticus to condemn homosexuality on religious grounds, but these rules do not necessarily apply today. The passages refer specifically to sex with male temple prostitutes in the fertility cults of the neighboring Canaanite nations. They were only intended to stop ancient Jews from adopting the idolatrous practices of other cultures, not as a blanket prohibition on same-sex relationships forever. Anyway Christians need not try to enforce laws from Leviticus. The New Testament firmly rejects imposing the old purity code on new Gentile Christian converts because Jesus replaced the old laws with the new commandment to love. Many of the other laws in Leviticus were abandoned by Christians long ago. In addition to its sexual rules, Leviticus also outlaws tattoos, eating shrimp, reading horoscopes, and wearing blended fabrics.

Religions have labeled queers as “sinners” and then refused to accept responsibility for the violence that they incited. A 21st-century example occurred in Uganda, where a law that imposed the death penalty for homosexuality was drafted under the influence of Christian conservatives from America. Church trials for homosexuality continue in America too. Priests, ministers, and congregations are still being found guilty and rebuked, ousted, expelled, shunned, or silenced for such “crimes” as speaking in favor of LGBT rights, performing same-sex marriages, or ordaining LGBT clergy. Queer Christian art has been denounced as blasphemy, the same crime for which Jesus was condemned.

The ugly pattern is repeated with other groups. The Bible teaches love, but it has been used to justify slavery, wife-beating, genocide, and other horrors. “Jesus Before the Priests” sums up all religious hypocrisy in a single image. Religion, which supposedly promotes peace, justice, and love, instead has often become the impetus for war, discrimination, and acts of hate. Christians claim to follow Jesus, but if he showed up today they might reject him as a heretic and a troublemaker, just as the priests did 2,000 years ago.

“The Human One must undergo great suffering, and be rejected by the elders and chief priests and scribes, and be killed, and on the third day be raised.” -- Luke 9:22 (Inclusive Language Lectionary)

The police arrested Jesus and took him straight to the priests -- the ones whom Jesus had often accused of hypocrisy. These priests rigorously enforced minor rules, while neglecting the purpose of God’s law: justice, love, and faith. They were like today’s church officials who put ministers on trial for blessing same-sex relationships or ordaining lesbians and gays. The priests interrogated Jesus for hours, trying to get him to say something that could be used against him. When they asked about his teachings, Jesus replied, Why ask me? Ask those who heard me. At that, an officer struck him, snarling, Is that how you answer the high priest?! The priests watched the violence with bland indifference. There were some good men among them, but they accepted their role as part of the system. They kept silent as evil triumphed. Violence in God’s name was routine. The unthinkable had become normal.

Jesus, I follow your example, even if it goes against what the church authorities say.

9. Jesus Before the Magistrate (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“But he gave him no answer, not even to a single charge; so that the governor wondered greatly.” -- Matthew 27:14 (RSV)

A defendant refuses to accept a plea bargain in “Jesus Before the Magistrate.” Jesus is caught between his lawyer and a guard wearing knee-high military jackboots. Dull men in suits are shuffling papers, but nothing seems to happen in the generic courtroom. All of them, even the judge, look like faceless pawns in a menacingly complex bureaucracy. There is no jury. A pole behind the judge’s bench is topped by an eagle, a symbol shared by imperial Rome -- and the United States. In this antiseptic setting, impartial to a fault, Jesus is found guilty of treason and sentenced to death.

This painting is a modern version of Jesus’ trial before the Roman governor, Pontius Pilate. The Bible says that after the priests found Jesus guilty, they took him to the governor for a second trial. Jesus was a Jew convicted blasphemy under the laws of his own people, but this was no crime in the eyes of the Roman occupation forces. The priests wanted Jesus executed, so they switched the charge to treason, a capital offense under the law of the Roman government that occupied their land. The Bible is packed with juicy dialogue, characters, and details about the interrogation and interactions between Jesus and Pilate. The episode has been dramatized -- and sometimes over-dramatized -- as the first stop in the traditional Stations of the Cross. The sensational scene has been a crowd-pleaser in medieval Passion plays and contemporary films about the life of Christ. In all four gospel accounts Pilate tries various tactics to avoid responsibility for killing Jesus. The angry mob and the seriousness of the charges eventually force Pilate to authorize the death penalty. The Roman and Jewish leaders were enemies, but they agreed that the man who loved without limits should die.

Jesus’ trial before Pilate is one of the most enduring images in Christian art, dating back to fourth-century sarcophagi in the catacombs of Rome. Some artists portray Pilate as a harsh tyrant or a clever politician, but Blanchard opts to show him as an uncaring bureaucrat, too bland to make a memorable villain. This painting takes the whole overblown scenario and strips away the embellishments that have been cultivated by countless artists over the centuries: There are no priests accusing Jesus of “perverting” the nation. Jesus does not engage in one-on-one repartee with the governor. King Herod, Barabbas, and Pilate’s wife never appear. Pilate does not ritually wash his hands to absolve himself. Blanchard condenses all the action into a single, simple scene. The understated result is one of the most tranquil images in his whole Passion series. The painting gets at the unvarnished truth: Jesus was a nobody in the Roman justice system. The decision to kill the child of God was no big deal. It happened without fanfare, and it could happen again now somewhere closer to home. Ultimately Jesus was executed for treason, but his “crime” might have gone by a different name in another time and place.

Queer people can relate to the experience of a man trapped in a system that is rigged against him. The deadly oppression begins with words of insult that serve to demonize and dehumanize a target group, paving the way for acts of violence. This hard truth is illustrated in “Stations of the Cross: The Struggle For LGBT Equality” by Tennessee artist Mary Button. In Station 1 she juxtaposes Jesus being condemned to death with the first use of the gay insult “faggot” in print (in a 1913 guide to criminal slang). Name-calling can escalate to assault. Anti-gay slurs are part of the continuum of oppression that includes murder by those who aim to purge society of sexual minorities. The scene of Jesus with the governor is also played out in courtrooms around the world. Many countries still outlaw same-sex acts between consenting adults, and a handful of nations punish them with death. Even where there is no state-sponsored persecution, people are fighting to pass laws that recognize same-sex unions and protect LGBT people from discrimination.

“And they began to accuse him, saying, ‘We found this man perverting our nation.’” -- Luke 23:2 (RSV)

The priests took Jesus to the magistrate, Pilate, demanding that he impose the death penalty. His government headquarters was bustling with dispassionate bureaucrats. For Jesus, the only law was love -- outright love for God and for people. He kept quiet in this alien place where loveless laws led to injustice. They used the legal system to force an uneasy “peace” on the local people, suppressing their culture and their very identity. Pilate’s lawmakers were like those who devised the “don’t ask, don’t tell” policy or “defense of marriage act.” Pilate came from just such a narrow-minded viewpoint when he asked Jesus, What have you done? Jesus answered, I have come into the world to bear witness to the truth. Puzzled, the magistrate posed another question: What is truth?

Jesus, show me your truth.

10. Jesus Before the People (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“Behold the man!” -- John 19:5 (RSV)

An angry mob confronts a young man in “Jesus Before the People.” Jesus stands alone, handcuffed and motionless in the shadows, before the religious zealots picketing outside the courthouse. He twists his body, turning the other cheek to the crowd that assaults him with insults and rotten eggs. They are enraged, shouting, shaking fists, and waving signs with messages such as “God hates...” The last word is hidden, so the viewer can fill in the blank. This lynch mob could be turning against any disadvantaged group. His head is haloed by a sign demanding “Death to….” Another sign warns, “Hell is hot, hot, hot!” Someone adds an obscene gesture by flipping the finger at Jesus.

A man in a wheelchair points his index finger sideways, signaling to cut his throat or get the hell out. Police struggle to stop the hostile crowd from killing Jesus right there. He turns his back on the viewer, revealing slashes in his tattered T-shirt. Eggshells, squashed tomatoes, and other debris litter the ground after being hurled at Jesus. Even the frame looks like it is spattered with eggs and gunk in a trompe l’oeil (fool the eye) artistic technique. The only barrier between the mob and the viewer is Jesus.

The words on the signs suggest that Jesus is a gay man being jeered by fundamentalists. These look like the “God hates fags” signs carried by hate-mongers from Westboro Baptist Church at AIDS funerals and pride marches. “Jesus Before the People” shows the plight of any individual pressured by a group. By scapegoating vulnerable people, bullies maintain power. Blanchard doesn’t dehumanize the demonstrators or resort to demeaning stereotypes. The crowd is multi-racial, but all male, which is realistic for mass street violence.

This painting updates the Biblical episode where Jesus was paraded before the bloodthirsty mob after being whipped. Pilate, the Roman governor, displayed the beaten Jesus to the crowd, exclaiming, “Behold the man!” They responded by shouting, “Crucify him!” The scene is all the more tragic because the crowds adored Jesus less than a week earlier when he entered the city. But the enemies of Jesus managed to stir up enough hate to turn the public against their former hero. In all four gospels Pilate yields to the crowd. He reluctantly sentences Jesus to death, trying to escape responsibility by blaming it on the people. In Matthew’s gospel he literally washes his hands in front of the crowd in a ritual to cleanse himself of guilt. Later interpreters have seen the sympathetic portrayal of Pilate as an attempt to cover up the role of the Roman government in Jesus’ death. The scene has been used to fuel anti-Semitism as Jews were scapegoated as “Christ-killers,” despite the fact that Jesus himself was a Jew, as were his apostles. The crowd in Jerusalem was lashing out at one of their own, erupting in the horizontal violence that often happens among oppressed people, including the LGBT community.

Many artists have painted the scene that is known to art historians by the Latin phrase “Ecce Homo” which is usually translated as “Behold the man.” Like many images from the Passion, the Ecce Homo theme first appeared in art around the 10th century. It was re-enacted in the Passion plays of medieval theater and became popular in the Renaissance, depicted not only in Passion cycles but also on altarpieces and in sculpture groups. Most followed the same pattern, showing Jesus, Pilate, and the unruly crowd in a Jerusalem cityscape. Artists occasionally included self portraits as Christ or members of the crowd. Sometimes they turned the tables on the crowd. Dutch Early Renaissance painter Hieronymus Bosch wreaked revenge on the anti-Jesus faction by turning their faces into ugly caricatures. During the late Renaissance artists began to show Jesus alone in the Ecce Homo scene. They created a new subject called Man of Sorrows that showed a close-up of the anguished face and upper body of Jesus as he was presented to his detractors. Blanchard’s version takes the iconography in the opposite direction, expanding the crowd and turning Jesus away from the viewer.

Modern artists have adapted the Ecce Homo theme to express other forms of human suffering and degradation. German expressionists seemed to have a special affinity for the motif. Otto Dix illustrated the brutality of war in “Ecce Homo with Self Likeness Behind Barbed Wire” and George Grosz satirized human greed, lust, and cruelty with his “Ecce Homo” collection of vignettes from 1920s Berlin. In contemporary times the Latin word homo naturally lends itself to LGBT interpretations. Swedish photographer Elisabeth Ohlson Wallin used it as the name for her famous 1998 photo series recreating the life of Christ with LGBT models. Ecce Homo became a pun meaning both “Behold the man” and “Behold the homosexual.”

“They shouted out, ‘Crucify, crucify him!’” -- Luke 23:21 (RSV)

How quickly the people turned against Jesus! Less than a week ago the crowds adored him. Now a mob was outside the government headquarters demanding his death. Pilate, the magistrate, wanted above all to maintain security. He made Jesus stand before the angry throng. They shouted with increasing frenzy: “Crucify him!” The chief priests stirred up the crowd, vehemently accusing Jesus of all kinds of sins. “He’s a traitor! Burn in hell!” Their words still echo today when hate-mongers tell ruthless lies: “God hates gays! Death to fags!” The magistrate saw that a riot was beginning. If one person had to die to keep the peace, then the end justified the means. Guilt or innocence was not part of the equation. The magistrate agreed to the demands of the crowd. He ordered the execution of Jesus.

Jesus, how can I meet hate with love?

___
This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Scripture quotation is from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Sor Juana de la Cruz: Nun who loved a countess in 17th-century Mexico City

April 17, 2014, 8:19 am

≫ Next: Day 5: Jesus before the soldiers; Jesus is beaten (Gay Passion of Christ series)

≪ Previous: Day 4: Jesus before the priests, magistrate and people (Gay Passion of Christ series)

$

0

0

Sor Juana Inés de la Cruz

By Lewis Williams, SFO trinitystores.com

Sor Juana Inés de la Cruz was a 17th-century Mexican nun whose critically acclaimed writings include lesbian love poetry. She is considered one of the greatest Latin American poets, an early advocate of women’s rights, and some say, North America's first lesbian feminist writer. Her feast day is today (April 17).

Production begins in fall 2014 on a film based on “Sor Juana’s Second Dream,” a novel in which author Alicia Gaspar de Alba explores Sor Juana's romance with a Mexican countess.

Sor Juana (Nov. 12, 1648 - April 17, 1695) was born out of wedlock near Mexico City in what was then New Spain. She was a witty, intellectually gifted girl who loved learning. Girls of her time were rarely educated, but she learned to read in her grandfather’s book-filled house.

When she was 16, she asked for her parents’ permission to disguise herself as a male student in order to attend university, which did not accept women. They refused, and instead she entered the convent in 1667. In her world, the convent was the only place where a woman could pursue education.

Sor Juana’s convent cell became Mexico City’s intellectual hub. Instead of an ascetic room, Sor Juana had a suite that was like a modern apartment. Her library contained an estimated 4,000 books, the largest collection in Mexico. The following portrait from 1750 shows her in her amazing library, surrounded by her many books.

Sor Juana Inés de la Cruz by Miguel Cabrera, 1750 (Wikimedia Commons)

She turned her nun’s quarters into a salon, visited by the city’s intellectual elite. Among them was Countess Maria Luisa de Paredes, vicereine of Mexico. The two women became passionate friends. It’s unclear whether they were lesbians by today’s definition, but Maria Luisa inspired Sor Juana to write amorous love poems, such as:

That you’re a woman far away
is no hindrance to my love:
for the soul, as you well know,
distance and sex don’t count.

Click here for more of Sor Juana’s lesbian poems in English and Spanish.

The romance between Sor Juana and Maria Luisa continues to be an inspiration for contemporary writers and film makers. Poet and Chicano studies scholar Alicia Gaspar de Alba writes about it vividly in her novel “Sor Juana’s Second Dream.” The novel became the basis for the play “The Nun and the Countess” by Odalys Nanín.

Production begins in fall 2014 on a movie based on Gaspar de Alba's novel. Mexican actress Ana de La Reguera will play Sor Juana in "Juana de Asbaje," the film adaptation of Gaspar de Alba’s novel. She co-wrote the screenplay with the film's director, Rene Bueno.

Gaspar de Alba also writes about Sor Juana in her new book “[Un]framing the ‘Bad Woman’: Sor Juana, Malinche, Coyolxauhqui, and Other Rebels with a Cause.” It will be published in 2014 by the University of Texas.

Church authorities cracked down on Sor Juana, not because of her lesbian poetry, but for “La Respuesta,” her classic defense of women’s rights in response to opposition from the clergy. Threatened by the Inquisition, Sor Juana was silenced for the final three years of her life. At age 46, she died after taking care of her sisters in an outbreak of plague.

She is not recognized as a saint by the male-dominated church hierarchy that she criticized, but Sor Juana holds a place in the informal communion of saints honored by lesbian, gay, bisexual and transgender people of faith and our allies.  She is especially revered as a role model by Latina feminists.

The icon at the top was painted by Colorado artist Lewis Williams of the Secular Franciscan Order (SFO). Sor Juana sits between Mexico City’s two volcanoes, the male Popocatépetl and the female Iztaccíhuatl, symbolizing the conflict between men and women that she experienced in trying to get an education. She holds a book with a quote from her writings: “The most unforgivable crime is to place people’s stature in doubt.”

___
Related links:

Sor Juana Ines de la Cruz (Qualia Encyclopedia of Gay Folklife)

Sor Juana de la Cruz: La monja le encantó la Condesa en la Cidade do México en el siglo 17 (Santos Queer)

_________
This post is part of the GLBT Saints series at the Jesus in Love Blog. Saints and holy people of special interest to gay, lesbian, bisexual and transgender (LGBT) people and our allies are covered on appropriate dates throughout the year.

Icons of Sor Juana de la Cruz and many others are available on cards, plaques, T-shirts, mugs, candles, mugs, and more at Trinity Stores

Day 5: Jesus before the soldiers; Jesus is beaten (Gay Passion of Christ series)

April 17, 2014, 8:21 am

≫ Next: Day 6: Jesus goes to his execution and is nailed to the cross (Gay Passion of Christ series)

≪ Previous: Sor Juana de la Cruz: Nun who loved a countess in 17th-century Mexico City

$

0

0

11.Jesus Before the Soldiers (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“Soldiers treated him with contempt and mocked him.” -- Luke 23:11 (RSV)

Marine look-alikes torment a naked prisoner in “Jesus Before the Soldiers” from “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. Jesus kneels, naked and vulnerable, as a knife-wielding soldier grabs him by the hair. War dogs bark at him like hounds of hell, baring their teeth. A leering soldier flips the finger at him while another brandishes an assault rifle. Behind them a skull stares out from a gaping black hole. A dark halo seems to arch over him. The soft, round curves of Jesus’ exposed buttocks make the blade of the knife look even sharper. Dust clings to the soles of Jesus’ bare feet.

The soldiers smirk, compelling viewers to laugh with them as they hurt and humiliate their victim. The viewer is pushed to become an accomplice, unable to change the course of events. Even the frame bears the scars of war: a bullet hole and a gash. The only choice is to turn the page, closing one’s eyes on human suffering, or to watch and perhaps pray. The reason to relive the horror of what happened to Jesus is to bear witness to the ongoing suffering that the Passion represents. Perhaps it can motivate compassionate action in the present.

This picture begins a section of four violent images leading to the crucifixion. When considering Blanchard’s paintings of violence and nudity, it is essential to keep them in the holy context of Christ’s life. Such explosive subjects must be handled with care. Otherwise they may serve to glorify violence or fuel sadomasochistic fantasies, adding to the exploitation pictured. This painting and the next one (“Jesus is Beaten”) may well be the most terrifying images in Blanchard’s Passion. They are the only paintings in the series to combine violence and nudity. It hurts to look at them. After these, death comes as a relief. Maybe that’s the point. In these two images the frames are especially important because they keep the naked torture in context. All 24 images in the series have inseparable frames specifying their title and their number in the series. Blanchard painted the frames directly on the same wooden panel with each image, ensuring that the suffering will be seen as part of a larger story. His Passion paintings report the truth about violence. At the same time he condenses the barrage of contemporary violence into a few images suitable for deeper reflection.

“Jesus Before the Soldiers” is a modern version of the mocking of Jesus by soldiers in gospel accounts. They dressed him up as a king with a crown of thorns and ridiculed him. As still happens today, verbal abuse was a warm-up for serious physical assault. Graphic violence was not depicted in Christianity’s first thousand years, but since the 10th century grisly depictions of the Passion have been used to condone war and other forms of violence. Evidence suggests that early Christian artists cared more about how Christ’s spirit lived in them than about how he died. Early Christianity was also relatively tolerant of homosexuality for a millennium. Then the 10th and 11th centuries brought the first Crusades, the first gruesome artistic depictions of Jesus suffering on the cross, and the first church council saying that homosexuals should be burned at the stake. Atonement theologies arose saying that God wanted Jesus to suffer on the cross to pay the price or “atone” for human sin. Church leaders started encouraging believers to meditate on how Jesus was punished for their own individual sins. Blanchard questions, dismantles, and frees people from that deadly mindset with his gay vision of God suffering with humanity in the Passion.

In art history the mocking of Christ is traditionally shown with Jesus blindfolded and facing the viewer. A popular version was painted by Fra Angelico, an early Italian Renaissance artist and friar. His idealized Christ remains at peace even as he is slapped and spit upon. Blanchard’s interpretation has more in common with the modern, humanistic view in “Jesus Mocked by the Soldiers” by avant-garde French painter Edouard Manet. When it was first exhibited in 1860, critics reviled Manet for vulgarity because he used lower-class models and pictured the near-naked Jesus as an ordinary man.

Blanchard has acknowledged that one of the artists who influenced his Passion is modern American painter Leon Golub. He was a figurative expressionist who painted scenes of military and paramilitary torture in his 1980s series “Mercenaries,” “Interrogations,” and “White Squads.” Blanchard echoes Golub’s compositions and moral tone, mixing political critique with artistic sensibility. Today’s artists almost never paint LGBT versions of Jesus being mocked. Instead they get accused of mocking Jesus whenever they portray him as queer.

With this painting Blanchard employs an unusual composition in which Jesus is seen from behind. The viewer can’t see the face of Jesus. Blanchard’s version of soldiers mocking Christ owes its imagery not only to time-honored masterpieces, but also to shocking photos that dominated the news during his painting process. This panel and the next (“Jesus is Beaten”) were completed in 2004, the same year that the new media first revealed snapshots of American soldiers and military contractors torturing Iraqi prisoners at Abu Ghraib prison in Baghdad. The abuse occurred during a war sparked by the 9/11 terrorist attacks on the World Trade Center. Blanchard is a New Yorker who painted the Passion while in turmoil over the attacks that led to the war. Here he addresses the potent connection between religion, terrorism, and torture.

Apart from the frame, there is no way to identify the prisoner in this painting as Jesus -- except by remembering his words, “Whatever you do to the least of these, you do to me.” Whenever anyone commits violence against another, Christ is crucified again -- including when LGBT people are stripped of their rights, bullied, beaten, driven to suicide, or killed for loving someone of the same sex.

“He was despised and rejected… a man of sorrows, and acquainted with grief.” -- -- Isaiah 53:3 (RSV)

The soldiers pulled off Jesus’ clothes and mocked him with contempt. They made ethnic jokes about him for being Jewish, and taunted him as a “king” because he taught that God’s kingdom of love is here and now. They could have used “queer” or a “faggot” or “lezzy” or any other slur. Whatever the words, whenever one person insults another, a child of God is humiliated. As Jesus said, whatever you do to the least of these, you do to me. The soldiers were young men similar to Jesus in many ways. The bullying was done by the soldiers, but the religious leaders were also to blame for the cruelty. The priests had set the stage for violence by calling Jesus a sinner. They targeted Jesus, but the pain spread far beyond him to terrorize many more people.

Jesus, what can I do to end violence?

12. Jesus is Beaten (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“Then Pilate took Jesus and scourged him.” -- John 19:1 (RSV)

A naked prisoner hangs helpless while a soldier bashes him with a club and chain in “Jesus is Beaten.” His precious blood drips into a drain in the floor. A man in a necktie supervises with grim determination. The torture occurs in a bleak, gray room. It is bare except for a sink and an empty chair. The anonymous victim is turned away from the viewer, so only his wounded backside is visible. He cannot be identified as Jesus except by reading his name in the title on the frame. A ceiling lamp forms a distant halo over the head of the battered Jesus, casting shadows in the starkly lit torture chamber.

“Jesus is Beaten” is perhaps the most disturbing of the 24 paintings in Blanchard’s Passion. Blood is shed here for the first time in the series. The nudity stirs up sexual tension and an unbearable sense of vulnerability. It is similar to the previous image (“Jesus Before the Soldiers”) as a scene of violence inflicted on a naked man. There is no other nudity in the rest of series. Despite the sadomasochistic undertones, Blanchard refused to allow the scene to be taken out of its holy context. He painted the frame and title directly on the wooden panel, redeeming the horror by establishing it as an integral event in the life of Jesus.

The scourging of Jesus is mentioned briefly in gospel accounts and was standard procedure before crucifixion under Roman law. “Jesus is Beaten” is a new interpretation of Jesus being scourged, a scene often called “The Flagellation” in art history. Crucifixion scenes dominate Christianity today, but early Christians emphasized the risen Christ, depicting his life instead of his suffering and death. Images of Jesus being whipped first began to appear in art around the 10th century, along with other increasingly gruesome scenes from the Passion. During this period the church also began to encourage self-flagellation as a way for believers to share in the suffering of Christ.

Artists usually depict the Flagellation by showing Jesus with two men who flog him. After the 12th century Jesus almost always faces the viewer while he is whipped, but Blanchard reverts to an earlier tradition by showing him from behind. A well known version was painted by Italian Renaissance painter Piero della Francesca, who places the scourging in a pristine tiled courtyard with perfect perspective. There is a homoerotic flavor to many of these historic paintings of the Flagellation, including the robust versions by Caravaggio and Rubens. The same-sex eroticism was made explicit in the 1990s by gay artist Delmas Howe. His “Stations: A Gay Passion” includes a flagellation scene at the gay sex piers of New York City in the 1970s.

Like the previous panel, “Jesus is Beaten” is reminiscent of the Abu Ghraib prisoner abuse photos released while Blanchard was painting these images. It delivers a shocking glimpse of the trauma that is inflicted behind closed doors. The painting makes a visual protest against all forms of human violence, including “ex-gay conversion therapy” that aims to change the sexual orientation of LGBT people. Thousands have been subjected to harmful techniques such as pairing homosexual imagery with electric shocks or nausea-inducing medication. The trauma endured by Blanchard’s contemporary Christ is not an isolated incident, but a theme that recurs in human history and perhaps the human heart. With this image, all victims become one with Christ and receive a chance for compassionate attention from the viewer.

“Do not weep for me, but weep for yourselves and for your children.” -- Luke 23:28 (RSV)

Pilate, the Roman governor, ordered that Jesus be scourged -- a severe whipping before execution. This cruel punishment was state-sponsored terrorism against a man who defied the established order and hierarchy by teaching unlimited love for all. When they hit him, they did violence to everyone who has ever dared to be different. We are the body of Christ, and every individual’s suffering affects the whole. The charge against Jesus was treason, but his “crime” might have gone by a different name in another time and place. Governments and churches have imposed similar tortures on people who don’t fit in or threaten the system in various ways, including homosexuality. Those who carry out the dreadful orders are demeaned in the process too. The painful scourging left Jesus bleeding and in shock.

Jesus, be with all who suffer… and with all who cause suffering.

___
This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Scripture quotation is from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Day 6: Jesus goes to his execution and is nailed to the cross (Gay Passion of Christ series)

April 18, 2014, 7:00 am

≫ Next: Day 6: Jesus dies (Gay Passion of Christ series)

≪ Previous: Day 5: Jesus before the soldiers; Jesus is beaten (Gay Passion of Christ series)

$

0

0

13. Jesus Goes to His Execution (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“He went out, bearing his own cross, to the place called the place of a skull, which is called in Hebrew Golgotha.” -- John 19:17 (RSV)

A bloody prisoner carries a crossbeam through the city in “Jesus Goes to His Execution.” Jesus is surrounded by guards with guns. News reporters aim multiple cameras at him in a peculiarly contemporary form of intrusion. They broadcast his private pain to the world. He is walking barefoot to the execution site, carrying the means of his own death, the cross on which he will be crucified. He seems to carry the weight of the world on his shoulders. Nobody offers sympathy. A cheering spectator on the left looks out at the viewer, assuming that everyone shares his glee at seeing the blasphemer punished. A boy in a wheelchair watches with excitement, and perhaps relief that he is not being targeted this time. Jesus strides straight at the viewer with his face in shadow. His bare feet crunch on the broken shells of eggs that were thrown at him. He seems to be walking under scaffolding on a construction site. The low, overhanging roof adds to the tension, loading the scene with a heavy sense of impending doom. Soon the viewer must move out of the way or get trampled.

All four gospels report that Jesus was forced to walk through Jerusalem to the execution grounds outside the city walls. Crucifixions were done on a hill resembling a skull. Thus it was named Golgotha (Calvary in Latin), which means Place of the Skull. Two encounters occurred along the way: A passerby named Simon, from the Libyan town of Cyrene, was enlisted to carry the cross for him. And the women of Jerusalem followed, mourning and wailing. Knowing that the tragedy was much greater than his own personal suffering, Jesus turned to them and said, “Do not weep for me, but weep for yourselves and for your children.” [Luke 23:28 (RSV)] In Blanchard’s version, Jesus is isolated in the center of the crowd. Nobody shares his burden or laments for him.

Early Christians did not depict Christ suffering on the cross, but they did show him carrying it. Jesus (or Simon of Cyrene) carrying the cross is one of the earliest and most enduring images in Christian art. The scene is sculpted in marble on a fourth-century sarcophagus from the Catacombs of Domitilla. In the early images the cross looks light and easy to carry, but over the centuries it seems to get heavier until Jesus can barely drag it. From the start Jesus was usually shown in profile, almost never coming right at the viewer as in Blanchard’s version.

Jesus carrying his cross is the heart of the traditional Stations of the Cross, which originated as stopping points for pilgrims along an actual road in Jerusalem. Known as the Via Dolorosa or Way of Sorrows, it is the route where the historical Jesus supposedly walked to his execution. Eight of the traditional fourteen stations occur as Jesus carries his cross, falling three times under its tremendous weight and encountering various people. Blanchard crystallizes the eventful walk to Calvary into a single image. Until about 1100 artists most often showed the cross being by Simon of Cyrene, but then the burden shifted to Jesus. Artists also gradually increased the number of characters in the scene. The trend culminated in 1564 when Flemish artist Pieter Bruegel the Elder painted an enormous crowd of more than a hundred people accompanying Jesus through a vast landscape in “Procession to Calvary.”

Art history includes many variations on Jesus carrying his cross, including Renaissance masterpieces by Hieronymus Bosch, who caricatured the mob with grotesque faces, and El Greco, whose haunting close-up showed an elongated Christ lifting his eyes to a stormy sky. Michelangelo bucked the trend by sculpting a muscular nude Jesus who practically swaggers with his cross. Modern mainstream artists have done surprisingly little with the motif of Jesus carrying his cross, preferring instead to draw inspiration from other scenes from Christ’s Passion.

The road to Calvary has inspired some powerful LGBT Christian art. Swedish photographer Elisabeth Ohlson Wallin included it in her controversial Ecce Homo series that recreates the life of Christ in a contemporary LGBT context. In “Weighed Down by the Cross,” she showed Jesus stumbling under his cross through a crowd with red ribbons and a Names Project memorial panel, symbolizing AIDS as a Way of Sorrows. Tennessee artist Mary Button matched each traditional station with a milestone from the past 100 years of LGBT history in “Stations of the Cross: The Struggle For LGBT Equality.” Jesus carries his cross against a backdrop of violence aimed at queers, including Nazi persecution, the Stonewall Rebellion, and the assassination of gay politician Harvey Milk.

For LGBT people, their God-given sexuality may feel like a burden in a world that disapproves of being queer. Earlier in his life Jesus spoke of carrying the cross as a metaphor for the spiritual journey with its inevitable costs. “If any would come after me, let them deny themselves and take up their cross and follow me,” [Matthew 16:24] he told his friends. Sometimes queer people learn to collaborate in their own oppression by carrying the “cross” of internalized homophobia and self-hatred. Whether they deny or embrace their identity, oppression of LGBT people is usually part of the load that queer people carry on their particular path to wholeness.

“Surely he has borne our griefs and carried our sorrows.” -- -- Isaiah 53:4 (RSV)

The soldiers made Jesus walk to the execution grounds. They forced him to carry the cross on which he would be crucified. It was big news and crowds gathered along the road. They had watched Jesus rise to mass popularity, and now they wanted to see him fall. Many jeered at him. Some of the hecklers were once among his followers. Maybe they shouted louder than the rest to prove that they were not associated with Jesus -- like closeted lawmakers who loudly oppose LGBT rights. For those whom God created queer, the struggle to be fully human in a homophobic world is a heavy cross to bear.

Jesus, I will pull my own weight and walk with you.

14. Jesus is Nailed to the Cross (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“There they crucified him.” -- Luke 23:33 (RSV)

Bruised and bleeding, a condemned man cries out in agony as a spike is hammered through his wrist in “Jesus is Nailed to the Cross.” The guard shows no emotion as he pounds a cruel spike through human flesh and bone. A shadowy guard in sunglasses wields a rifle to keep spectators away. Paparazzi with cameras jockey for position, prying into his pain and making it a commodity for public consumption. A rope is ready to hoist Jesus up to the cross that looms the background. Even the frame is splashed with blood.

Jesus grimaces. The pain is excruciating, a word that comes from the Latin cruciare, “to crucify.” The viewer is right there, closer than the news cameras, close enough to get spattered with blood, to hear Jesus’ cries and the metallic clank with every hammer blow. Of all 24 paintings in the series, this is the only one where the viewer can see agony on Jesus’ face. Previously his face was turned away or hidden in shadow when he felt pain. Now the viewer must look directly into his suffering face. This is also the bloodiest picture in the series. The painting forces the viewer to witness everything, to be an accomplice, voyeur, or victim. One of the beauties of this series is how even the men who torture and execute Jesus are still presented real people. They are cruel or oblivious or blinded by the drive for power at any cost, but ultimately they remain human.

When the gospels were written, there was no need to explain what was meant by “they crucified him.” The Bible doesn’t describe it in detail. The terrors of the cross were all too familiar to first-century readers. Blanchard actually spares the viewer some of the horror by skipping over other scenes reported in the gospels, such as Jesus being stripped, raised on the cross, and refusing the “benumbing drink” of wine mixed with gall.

At this point it may feel like overkill to show a blow-by-blow account of Jesus being crucified. But past artists, goaded by the Stations of the Cross format, often divided the crucifixion process into multiple steps. Compared to many historic paintings of this scene, Blanchard’s Jesus looks active, like he might still be able to escape from the cross. Another painter who brings the horror of the crucifixion into a modern LGBT context is Mary Button. In Station 11 of her series “Stations of the Cross: The Struggle for LGBT Equality,” Jesus is nailed to the cross while queer people are hooked to electrodes for electroshock therapy meant to “cure” homosexuality. In Blanchard’s version a 21st-century gay man stands for all those who have been victimized. The crucifixion of Jesus comes to symbolize all human violence.

“They have pierced my hands and feet--I can count all my bones --they stare and gloat over me.” -- -- Psalm 22:16-17

The soldiers nailed Jesus to the cross. It was high noon on Friday. The pounding of the hammer left no room for neutrality. People were forced to choose sides, us versus them. If you didn’t want to be a victim, you had to join the perpetrators. The psychic terror extended to those who watched. By abusing one person, the authorities intimidated everyone like him, everyone who was different in any way… religion, race, gender, sexual orientation, whatever. And what about the men who nailed him to the cross? Their actions were monstrous, but Jesus still saw their humanity. He prayed for the men who crucified him: God, forgive them because they don’t know what they’re doing.

God, help me find meaning in the brutal death of Jesus.

___
This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Scripture quotation is from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Day 6: Jesus dies (Gay Passion of Christ series)

April 18, 2014, 7:48 am

≫ Next: Day 7: Jesus is Buried; Jesus Among the Dead (Gay Passion of Christ series)

≪ Previous: Day 6: Jesus goes to his execution and is nailed to the cross (Gay Passion of Christ series)

$

0

0

15. Jesus Dies (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“While the sun’s light failed… he breathed his last.” -- Luke 23:44-46

“Jesus Dies” places Christ’s crucifixion against a 21st-century city skyline in “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. Jesus hangs on modern scaffolding that forms a cross behind him. He dies an outcast’s death in pain and humiliation. Jesus stayed true to his vision, even when it brought him into conflict with authorities, even to the point of death. Head bowed, Jesus looks like a corpse. Storm clouds blot out the sun in the sky above. The body of Christ dwarfs the crowd in the background. Some jeer at the dead martyr while others pray. Many, including a few priests, watch grimly. Once again Jesus has brought together an unlikely group. These spectators look like ordinary people today, becoming a visual counterpart to the African American spiritual that asks, “Were you there?”

The crucifixion could be taking place on top of a building, or on some kind of terrace. The silhouette of a skyscraper like the Empire State Building stands tall in the distance. Its presence hints at a subtext of Blanchard’s Passion: the 9/11 terrorist attacks happened near Blanchard’s art studio while he was working on the series. The World Trade Center is missing from the skyline in this painting. It has gone up in smoke like the dark clouds gathering above Jesus.

Here the cross regains its uncomfortable power to disrupt lives. The crucifixion of Jesus is so important and widespread in Western culture that it is in danger of losing its impact from deadening over-repetition. Blanchard brings it back to life by updating the image, defying attempts to downplay the significance of the cross or turn it into an oversimplified test of faith. Even non-believers are moved by the story of the martyr who poured out his life for others. For Christians it proves that the Immortal loved people to the point of becoming mortal. Some see the crucifixion as an atonement required by God to redeem the world from human sins. Others view it as God suffering with humanity, longing to stop the cycle of violence. The mystery of the cross is remembered by the faithful through the bread and cup of the Eucharist, the central sacrament of church life.

All four gospels describe the events of the crucifixion in detail. Darkness fell over the land for three hours as the crowds mocked Jesus. One might hope that a gay vision of the Passion would show Jesus speaking from the cross to the man he loved, but the viewer is denied such comfort here. The unnamed “disciple whom Jesus loved” is referenced five times in the gospel of John (John 13:23, 19:26, 20:22, 21:7, 20). He reclined next to Jesus at the Last Supper, resting his head on Jesus’ chest. He was the only male disciple present at the crucifixion. Speaking from the cross, Jesus entrusted his mother and his Beloved Disciple into each other’s care. Christ created an unconventional family by telling them, “Woman, here is your son” and “Here is your mother.” The scene was even included in the new Scriptural Stations of the Cross instituted by the Pope in 1991. The Scriptural Stations also flesh out the crucifixion by adding the conversation between Jesus and the two thieves crucified beside him. But in Blanchard’s vision, there are neither thieves nor family to talk with Jesus. He hangs alone.

The very name of Blanchard’s crucifixion -- “Jesus Dies” -- expresses the modern spirit of the image. The dying Jesus was not depicted at all in Christianity’s millennium. The cross is one of the world’s most common symbols now, but crucifixion images are not the only or even the original way to worship Jesus. Christians drew strength from the crucifixion story in the era of early Christian martyrs, but back then artists had to disguise crosses as anchors or tridents to avoid Roman persecution. After Christianity gained legal status in 313, a few images began to appear with the Christ on the cross, but he was vibrantly alive, head held high in victory over death. The Passion was always depicted with the resurrection as one unified triumph. But mostly the cross was absent until the 10th century. The way Jesus died was not very important to his followers. For a thousand years Christian art usually celebrated Jesus as the Good Shepherd or the ruler of God’s bountiful creation. The risen Christ brought life and abundance. The church was also relatively tolerant of homosexuality in this period.

A shift began when the church joined forces with political and military powers near the end of Christianity’s first millennium. (An especially enlightening and helpful book on the evolution of Christian imagery is “Saving Paradise: How Christianity Traded Love of This World for Crucifixion and Empire” by Rita Nakashima Brock and Rebecca Ann Parker.) The Pope crowned Charlemagne in 800 as Holy Roman Emperor. He began forcing Christianity upon the native cultures of Europe. In present-day Germany Charlemagne’s armies killed or deported thousands of Saxons and chopped down the sacred tree of their religion. Descendants of the surviving Saxons carved the Gero Cross from wood around 970. It is the oldest surviving depiction of a dead Jesus on the cross. As the centuries passed, Jesus’ death on the cross was portrayed with increasing intensity and realism. Crucifixion scenes spread across Europe, along with a new theology of atonement. Christians were urged to imagine themselves at the foot of the cross and contemplate Christ’s agony as he was killed to atone for their particular sins. People who felt guilty for killing Jesus were less likely to resist domination. The Gero Cross expressed the anguish of a conquered people, but it also served to normalize violence. Christian leaders began using religion to justify bloodshed with the first Crusade in 1095. Eventually the death scene was enshrined as the 12th Station on the Way of the Cross.

As crucifixion art proliferated, hostility began to be directed specifically at same-sex erotic behavior. In 1120 the Council of Nablus established punishments for sodomy, setting a new precedent in medieval church law. Then came campaigns against heresy, which often used the terms “heresy” and “sodomy” interchangeably. The church directly or indirectly caused the execution of thousands for homosexuality over the next 700 years. Witch burning occurred in the same period and claimed the lives of countless lesbian women whose non-conformity was condemned as witchcraft. Blanchard says that their modern counterparts -- LGBT people murdered in gay bashings, driven to suicide, or killed by AIDS -- were on his mind as he painted “Jesus Dies.”

The crucifixion of Christ became so crucial that it was portrayed by virtually every artist in the Renaissance and Baroque eras, including Michelangelo, Da Vinci, and Rembrandt. One of the most influential versions may also be the most horrific: the Isenheim Altarpiece. German artist Matthias Grünewald created it around 1505. He portrays a ghastly, emaciated Jesus writhing in pain, his body covered with oozing sores. Like it or not, such graphic crucifixions still fascinate 21st-centuries sensibilities, as shown by the popularity of director Mel Gibson’s brutally violent 2004 film “The Passion of the Christ.”

Christian art has been largely eclipsed by secular imagery in the modern era, with important exceptions. Some famous 20th-century artists still used the crucifixion motif to symbolize cruelty and sacrifice, convey emotion, and critique society. Russian avant-garde painter Marc Chagall emphasized Jesus’ Jewish identity to call attention to Nazi persecution in his expressionist “White Crucifixion.” Picasso painted a cubist crucifixion and surrealist Salvador Dali hung Jesus on a multi-dimensional cross in “Crucifixion (Corpus Hypercubus).” Others made political statements by changing the setting or substituting the standard Jesus with a variety of different figures. For example, German artist George Grosz was tried for blasphemy in the 1920s over his anti-military drawing of the crucified Christ in a gas mask, captioned, “Shut up and obey!” British artist Edwina Sandys caused an international uproar by sculpting a female “Christa” in 1975. Blanchard’s gay Passion series has also been attacked by conservatives as “perverted” and “blasphemous.”

The horrors of the cross resonate with LGBT experience. The crucifixion naturally became the most common subject in contemporary queer Christian art because queer people have been scapegoated, abused, and killed, often in the name of God. Some contemporary artists have made the crucified Christ explicitly gay, confirming that God identifies totally with queer suffering. They have photographed the crucifixion with contemporary LGBT models. They have changed the location to gay cruising areas or AIDS wards, showing how the marginalization of gay men led them to literally die for their sexuality. Atlanta painter Becki Jayne Harrelson and New Mexico iconographer William Hart McNichols placed a “faggot” sign on the cross over his head. Brazilian cartoonist Carlos Latuff wrapped him in a rainbow loincloth. Photographers Elisabeth Ohlson Wallin of Sweden and Fernando Bayona Gonzalez of Spain, working separately, each did a Life of Christ series where the crucifixion scene shows Jesus lying spread-eagle on the ground after a gay bashing. Mary Button of Tennessee pairs the crucifixion of Christ with the murder of a transgender woman. Blanchard takes a more subtle approach. There are no overt gay references in his crucifixion. The viewer needs to look at the subtitle and other paintings in the series to know that this is a “gay vision.”

Blanchard shows the crucifixion for what it was -- one man’s violent death. Like prophets and freedom fighters of every age, Jesus was killed for challenging the status quo. The man who loves too much must die. By witnessing the crucifixion with compassion, viewers can stand symbolically beside all who suffer. They can face their own suffering without losing hope by seeing it in a larger context. The body of Christ represents the Oneness that goes by many names. The god-man dies and God’s identification with humanity, and in this case gay humanity, is complete.

“He said, ‘It is finished’; and he bowed his head and gave up his spirit.” -- John 19:30 (RSV)

Jesus knows the worst human suffering from his own personal experience. As Jesus hung dying on the cross, a few of his supporters watched. Among them were his mother and the man he loved. One of Jesus’ last wishes was to make them into a new kind of family. He called to his mother, Woman, behold your son! And to his beloved, he said, Behold your mother! After about three hours on the cross, Jesus shouted, My God, my God, why have you forsaken me? All the misery of a broken world seemed to come together at the crossroads of that awful moment. Nothing left, he emptied himself completely. The death of Jesus was unique, and yet it was also terribly common. His execution was one link in a long chain of human violence. Whenever anyone commits violence against another, Christ is crucified.

My God, don’t you care?! Why have you forsaken us?

___
This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.


Scripture quotation is from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

---

Day 7: Jesus is Buried; Jesus Among the Dead (Gay Passion of Christ series)

April 19, 2014, 7:01 am

≫ Next: Give now: Easter offering for Jesus In Love

≪ Previous: Day 6: Jesus dies (Gay Passion of Christ series)

$

0

0

16. Jesus is Buried (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“They took the body of Jesus, and bound it in linen cloths with the spices, as is the burial custom.” -- John 19:40 (RSV)

A mother mourns her dead son in “Jesus is Buried” from “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. Mary leans over the body of Jesus, ready to kiss his ashen face goodbye. Crucifixion wounds are still visible on his wrists, feet, and side. An identification tag from a morgue is tied around his wrist. His corpse is bloodless and wrapped in a plain white shroud. The gravedigger shovels dirt from the grave where Jesus will be buried. A simple wooden coffin waits. The night is dark with city lights in the distance.

The simple dignity of the scene conveys the deepest sorrow and the finality of death. The burial of Jesus is described in all four gospels and discussed in the earliest summaries of the Christian message in the epistles. His burial has been important to Christians since Biblical times because it confirms that Jesus really died, thus laying the groundwork for the miracle of his resurrection. The Bible reports that Jesus was laid in a rock-hewn tomb with the help of his disciple Joseph of Arimathea, while Mary Magdalene and “the other Mary” watched.

The subject is common in art history, where it is known as the Lamentation. A notable version was painted by Italian Renaissance artist Andrea Mantegna, who showed Jesus’ foreshortened cadaver on a slab, wounded feet first. Like most scenes from the Passion, the Lamentation was not depicted at all until the 11th century, and then proliferated in the Renaissance and Baroque periods. The last two scenes in the traditional Stations of the Cross show Jesus being taken down from the cross and buried in his tomb. Nothing touched viewers more deeply than a mother’s grief, so artists gave an increasingly central role to Mary. They focused on the heart-rending moment when the bereaved mother cradles her son’s dead body in a specific type of Lamentation known as a Pieta (Italian for “pity”). The most famous Pieta is the sculpture by Michelangelo at St. Peter’s Basilica in Vatican City. It has become one of the Passion’s most iconic scenes, often copied or parodied to make a point.

Modern artists have used his Pieta composition to express other forms of grief. Some relocate it or switch the characters to make a political statement. Others, such as German Surrealist Max Ernst, use it to depict the unconscious mind. He replaced Jesus and Mary with a self-portrait of the artist held by his stern, staunchly Catholic father in “Pieta or Revolution by Night.”

Some versions address the impact of AIDS and homophobia on LGBT people. The magnitude of the AIDS death toll was made worse by Christians who saw the disease as God’s punishment for homosexuality. In her famous Ecce Homo series, Swedish artist Elisabeth Ohlson Wallin photographed an emaciated gay AIDS patient cradled by a leather bar employee in the AIDS ward of a Stockholm hospital. American painter Matthew Wettlaufer’s “Pieta” shows a gay man at the bedside of his dying lover while bombs drop and a blanket lists the names of war-torn countries and gay-bashing victims. “Stations of the Cross: The Struggle for LGBT Equality” by Mary Button weaves together past and present to make deadly comparisons: Jesus is taken down from his cross beside a map of states banning same-sex marriage, and LGBT youths driven to suicide watch as he is laid in his tomb.

Blanchard’s understated Lamentation is closely related to the next two paintings in his gay vision of the Passion. All three images use dark tones to convey Jesus’ experiences with death and the underworld. Life, not death, was Jesus’ focus, and he gave mixed messages about mourning the dead. He promised comfort for those who mourn. He was so concerned about the welfare of his mother and his beloved disciple after his death that from the cross he declared them to be family for each other. But he did not have an overly sentimental attachment to family or funeral customs. He even ordered a disciple to skip his father’ funeral, saying, “Leave the dead to bury their own dead.”

“You are dust, and to dust you shall return.” -- Genesis 3:19 (RSV)

After Jesus died, the authorities allowed one of his friends to take his body for burial. Almost all of his many supporters were gone. Jesus’ body was laid to rest in a fresh tomb at sundown, just before the sabbath began. When they buried him, they also buried a beautiful part of themselves. Sometimes the humiliations continue even after death… when homophobes picket the funerals of the LGBT people and other outcasts, when mortuaries refuse to handle the bodies of AIDS patients, when families exclude same-sex partners from memorial services, on and on. Jesus understood grief and didn’t try to suppress it. He said, blessed are those who mourn, for they will be comforted.

Jesus, I wait in silence at your grave.

17. Jesus Among the Dead (from The Passion of Christ: A Gay Vision) by Douglas Blanchard
Collection of Robert Wilder Nightingale

“Even the darkness is not dark to you.” -- Psalm 139:12 (Inclusive Language Lectionary)

Endless rows of corpses fill a vast black space in “Jesus Among the Dead.” Even in death, Jesus is not separate from humanity. He lays with the stink, the dead bodies, and the skeletons -- a common man in a common grave. Jesus can be identified by his crucifixion wounds. His corpse only stands out because it has not begun to decompose. He glows just slightly with a sick luminescence. Jesus just lies there, not judging, not fixing, not rescuing. He is simply present with people in the darkest state of being. This must be hell, or some human holocaust. Perhaps there is no difference.

At first glance Blanchard’s painting looks almost entirely black. The painting challenges viewers to keep looking until their eyes adjust to the lack of light. Then shapes and meanings emerge from the shadows to offer uncomfortable wisdom from the depths. Mystical traditions say there power to be gained by descent into the dark netherworld of dreams, intuition, death, and the unknown. In the mass grave Jesus is fulfilling Isaiah’s prophecy that God’s suffering servant would be buried with “transgressors” and “the wicked.” The black void conveys utter despair over the meaninglessness of life.

The Bible doesn’t tell what Jesus experienced in the interlude between crucifixion and resurrection, but artists and theologians of the past were quick to fill the void. The Apostle’s Creed clearly states, “He descended into hell,” or in another translation, “He descended to the dead.” Artists traditionally show Jesus leading an uprising in hell. The subject is traditionally known as the Harrowing of Hell, when Christ descends to hell or limbo to rescue the souls held captive there since the beginning of time. Some churches mark the event on Holy Saturday by stripping their altars bare or covering them with black cloth.

Blanchard takes the dead Jesus to a whole new level. His Jesus is not triumphantly waking the deceased, at least not yet. He stays dead in the afterlife, sharing the reality of human powerlessness. A few artists, notably German Renaissance painter Hans Holbein, depicted the corpse of Jesus with gruesome realism. But Blanchard’s monolithically black visual vocabulary in “Jesus Among the Dead” has more in common with modern art, photography, and philosophy. He based the composition on documentary photographs of the Holocaust, especially photos of bodies laid out in long rows after the liberation of the Nazi concentration camp at Nordhausen in 1945. New Mexico gallery owner Robert Wilder Nightingale singled out “Jesus Among the Dead” to purchase for his private collection when it was exhibited in Taos in 2007. “To me the work is haunting. A nightmare I wish never to see happen in reality,” he explained.

This is one of the most difficult paintings in Blanchard’s Passion series because it’s hard to see anything at all in the gloom. It resembles the all-black abstract paintings done by American artist Ad Reinhardt in the 1960s. Reinhardt claimed that these were the “last paintings that anyone can paint” -- a fitting concept for Jesus among the dead. Reinhardt painted them in the era when the “God is dead” theological movement announced that there was no longer any cultural relevance for the idea of transcendent God acting in human history. Another precedent for Blanchard’s black image is the Vietnam Memorial Wall in Washington DC. Inscribed with a seemingly endless list of war casualties, the memorial stretches like a long, black gash in the earth.

The most significant memorial for many in the LGBT community is the Names Project AIDS Memorial Quilt. More than 48,000 handmade panels commemorate those who died of AIDS, including thousands of gay men. Before effective treatments were developed in the 1990s, AIDS was stigmatized as the “gay plague” and the LGBT community felt like a war zone as thousands died. Fundamentalists preached that AIDS was God’s punishment for homosexuality and President Reagan kept silent. Lovers, friends, and family learned to show they cared by staying present with the dying. Meanwhile they advocated change through groups such as ACT UP, whose motto was “Silence = Death.”

The AIDS pandemic is part of a larger queer holocaust. Many LGBT people experience a kind of living death, trapped in the private hell of the closet. Some have wished themselves dead and even taken their own lives. Those who wore the pink triangle were exterminated in Nazi death camps. The tragic history of church-approved persecution for homosexuality stretches back to the 13th century, when the first “sodomites” were burned at the stake. In Blanchard’s vision, Jesus rests with them in the ashes.

There are many hells and many types of limbo in which people are trapped neither fully alive nor dead. For example, the US Supreme Court overturned state sodomy laws in 2003, but same-sex marriage is still illegal in almost every state, leaving most LGBT people to exist in a non-quite-legal limbo.

“He poured out his soul to death, and was numbered with the transgressors.” -- Isaiah 53:12 (RSV)

Like all human beings, Jesus eventually had to experience death. In effect, it was like he was buried in a mass grave with all humankind -- saints and sinners, queer and straight, male and female, all of us without exception, even the worst of us. His body rested in peace with the other corpses. Jesus lay buried like a seed waiting in the wintry earth. He didn’t believe death was the end. During his lifetime, he often talked about the afterlife. He said he would always be with us, connected like a vine to a branch. But when his body lay cold in the tomb, his friends and family simply missed him.

O God, can these bones live?

___
This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry.  For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.

Scripture quotation is from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Give now: Easter offering for Jesus In Love

April 20, 2014, 6:39 am

≫ Next: Day 8: Jesus rises, appears to Mary and friends, and more (Gay Passion of Christ series)

≪ Previous: Day 7: Jesus is Buried; Jesus Among the Dead (Gay Passion of Christ series)

$

0

0

Kittredge Cherry holding “Jesus Rises” by Douglas Blanchard (photo by Audrey)

I am collecting an Easter offering to support my work at Jesus in Love for LGBT spirituality and the arts.

Give now by clicking the “GoFundMe” button below or visiting my donate page.

Your gifts help provide resources such as the gay Passion of Christ series and the LGBT Stations of the Cross. Many thanks to the two people who already contributed.  I am grateful to EVERYONE who has given their time, talent and support. Happy Easter!

Day 8: Jesus rises, appears to Mary and friends, and more (Gay Passion of Christ series)

April 20, 2014, 6:47 am

≫ Next: Happy Easter from Jesus In Love and Kittredge Cherry!

≪ Previous: Give now: Easter offering for Jesus In Love

$

0

0

18. Jesus Rises (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“I am the resurrection and the life.” -- John 11:25 (RSV)

A handsome young Christ in blue jeans leads a joyous jailbreak in “Jesus Rises” from “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. He holds hands with a prisoner as he steps upward, leading the captives to freedom. Jesus still bears the wounds of his crucifixion, but he glows with life and health. For the first time in this series, Jesus also has a halo. Beams of light shoot from his head in four directions, forming a diagonal cross behind him. Jesus does not bask in his own glory, but is determined to use his new-found power to free others. Christ is even more powerful as a liberator because he is also one of the prisoners. His inner light illuminates the shadowy crowd behind him.

Blanchard dares to paint a communal resurrection. One prisoner raises a fist in victory, a broken chain dangling from his shackled wrist. Another waves his hat in celebration. The scene can be read as “gay” because Jesus appears to hold hands with another man. The arch motif recurs in the brick wall behind them, but this time Jesus rises above it. Even the picture frame cannot hold back the risen Christ. He heads directly for the viewer, making eye contact, ready to burst through the flat surface of the image and into our lives. The frame cracks open at the top as light breaks through in this naturalistic yet supernatural scene. The words painted on the inseparable faux frame inform the viewer that this is the moment of cosmic significance when “Jesus Rises.” He overcomes death itself in an updated vision of the first Easter.

The resurrection is one of the most difficult parts of the Passion story for modern people, who mistrust miracles and are suspicious of happy endings. Artists and theologians struggle to reconcile a realistic understanding of the human condition with hope for a tortured world. Skeptics question whether the resurrection really happened, but it is central to the faith of most Christians. Easter is when Jesus becomes more than a great teacher, when minds are challenged to stretch and take a leap of faith. By rising from the dead Jesus completes the mystery of saving a broken world and embodies a new truth: Love transcends history; love is stronger than death. Death ceases to be a prison and becomes a passage to new life.

Jesus was a unique historical person, but he also epitomizes the sacred archetype of the god-man hero who returns from the dead with new powers to help others. There are many ancient myths of gods who die and return, sometimes in harmony with the seasons. Cycles of death and rebirth repeat in nature and in the hearts of people who must let parts of themselves “die” in order to grow. Christ lives again the actions of countless martyrs, prophets, and humanitarians throughout history up to the present. Jesus triumphs not by denying death, but by moving through it. Ultimately he unites birth and death in himself.

Illustrating the resurrection has always been a challenge for artists. The Bible doesn’t describe the actual moment when Jesus rose from the dead, but instead conveys the good news with reports of the empty tomb and appearances of the risen Christ. For more than a thousand years artists followed suit and avoided depicting the resurrection itself. Even the traditional Stations of the Cross stops short of the resurrection. The subject became more common in art starting in the twelfth century. At first Christ was usually shown stepping out of a Roman-style sarcophagus. Then artists began to picture Jesus hovering in the air. The 16th-century Isenheim Alterpiece by Matthias Grünewald matches its horrific crucifixion with an equally extreme resurrection in which a radiantly robust Jesus floats above his tomb, serenely awake. But church authorities clamped down on the trend, insisting that Jesus’ feet remain firmly on the ground. Renaissance artist Leonardo Da Vinci pioneered a more natural approach with Jesus emerging from a rock-hewn cave.

In art history it is almost unprecedented to see others rising along with Jesus. Usually Jesus rises alone, perhaps accompanied by angels and bowling over or even trampling upon the Roman guards outside the door to his tomb. Blanchard’s group scene has a lot in common with another artistic tradition. Artists show Jesus rescuing the souls of the dead in a scene known as the Anastasis or Harrowing of Hell, but that is usually a separate event before the resurrection. The subject arose in Byzantine culture and then spread to the West around the eighth century. It continues to be more prominent in Eastern Orthodox Christianity. Blanchard cites English Romantic artist William Blake as a visual source for some of his resurrection and post-resurrection imagery.

The original painting “Jesus Rises” hangs in my own home, a gift from the artist. Blanchard wanted me to have this particular painting because it brought us together. In 2005 was hunting for queer Christian images for my JesusInLove.org website, which was still in the design stage. It was hard to find any kind of LGBT-oriented Christ figures, but the rarest of all was the queer resurrection. I was delighted when an Internet search finally led me to Blanchard’s “Jesus Rises.” After emails, letters, and phone calls, he eventually agreed to let me use it on my website. Later I shared more of his Passion series in my book “Art That Dares” and a 2007 exhibit that I helped organize at JHS Gallery in Taos. “Jesus Rises” hangs in my living room, where it serves as a constant reminder to maintain hope no matter what happens.

Blanchard’s resurrection does not occur in a vacuum or even in a lonely cave. His Jesus is no isolated individual experiencing a one-of-a-kind miracle, but first in the diverse group that will become the body of Christ in the world. He leads an uprising, as much insurrection as resurrection. These particular “prisoners” are the dead, but the prison can stand for any kind of limitation, including the closets of shame where LGBT people hide. The struggle to reconcile the resurrection with harsh reality can be especially tough for LGBT people who have endured hate crimes, discrimination, and the ravages of the AIDS epidemic. The risen Christ leads the way to a state of being where hate does not always lead to more hate, and anger becomes a motivation for life, not destruction.

For if we have been united with him in a death like his, we shall certainly be united with him in a resurrection like his. -- -- Romans 6:5 (RSV)

Christ lives! Nobody knows exactly how it happened, but Jesus rose to new life on the third day after his crucifixion. The mystery of resurrection replaced the law of cause and effect with a new reality: the law of love. Jesus lives in our hearts now. Just as he promised, he freed people from all forms of bondage. Captives are released from every prison. LGBT people are free to leave every closet of shame. Christ glows with the colors of all beings. People of all kinds -- queer and straight, old and young, male and female and everything in between, of every race and age and ability -- together we are the body of Christ.

Jesus, welcome back! 

19. Jesus Appears to Mary (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“Now when he rose early on the first day of the week, he appeared first to Mary Magdalene.” -- Mark 16:9 (RSV)

Two friends meet at sunrise in “Jesus Appears to Mary.” They circle each other as Mary Magdalene gestures with happy surprise at finding Jesus alive in the graveyard. It almost looks like Jesus is dancing with his own shadow. A patch of sunlight catches the risen Christ, now restored to health and handsome in his blue jeans. Mary, a black woman, remains in darkness with her back to the viewer. The morning star shines in a gorgeous blue sky while the first rays of dawn awaken the spring-green grass. The frame itself is green -- even the faux wood has sprung to life!

On the distant horizon are excavating machines. A body of water separates Jesus and Mary from the faraway city skyline. They are surrounded by numbered gravestones. The one behind Jesus is marked “124” -- the same number on the mysterious tag around Jesus’ neck in the first painting of this series. The artist has stated that he chose “124” because it has no special meaning in Christianity. His Jesus died with a random number, a human castoff stripped of his name. The gravestones and setting look like Hart Island, a public cemetery for the unknown and indigent in New York City. Operated by prison labor, Hart Island is the world’s largest tax-funded cemetery with daily mass burials and almost a million people buried there.

First Mary was blinded by grief, and then she saw a deeper truth: The living Christ is here now. In such moments, supreme awareness breaks through ordinary perception, awakening awe for the ultimate mystery that transcends all names. The scene can symbolize any “aha moment” when sudden clarity leads to life-changing insight.

The dynamic tension between the figures suggests that this is the moment known as “Noli me tangere,” the Latin phrase usually translated as “Don’t touch me.” Jesus spoke these words to Mary Magdalene in John 20:17 when they meet after his resurrection. In John’s gospel, Mary went to visit Jesus’ tomb before sunrise on Easter. She was distraught that his corpse was missing -- until the risen Christ called her name. Overcome with emotion, she started to hug him, but he stopped her with a request that has multiple translations. The original Greek is best translated as “Stop clinging to me.” But the Latin translation is embedded in cultural tradition: “Don’t touch me (noli me tangere) for I have not yet ascended.” The scene has been an iconographic standard for artists throughout the Christian world since late antiquity. Modern artists are still keen to portray the suffering and death of Jesus, but most won’t touch the subject of his resurrection appearances. Indirect references continue. For example Picasso’s mysterious 1903 allegorical painting “La Vie,” the masterpiece of his Blue Period, includes references to “Noli Me Tangere” by Renaissance painter Antonio da Correggio.

Jesus appearing to Mary is good news for all the disenfranchised, including today’s LGBT people. Like Jesus here, LGBT people cannot take touch for granted and become untouchable. The reason that Jesus rejects Mary’s touch is because he has “not yet ascended,” but in a gay vision it also suggests an aversion for heterosexual contact. Jesus made his first post-resurrection appearance to a woman in an era when women weren’t even allowed to testify at legal proceedings. And yet the risen Christ chose a woman as his first witness. Mary Magdalene has an undeserved reputation for sexual sins. The church mistakenly labeled her as a prostitute for centuries, but the Bible does not support this view. Progressive theologians are reclaiming her as a role model for church leaders. The Bible portrays Mary Magdalene as the most important woman follower of Jesus. She supported his ministry with her resources, traveled with him on his teaching tours, witnessed his crucifixion, and hurried to his tomb before sunrise. In Luke’s gospel angels ask a question to Mary Magdalene and the other women at the empty tomb: “Why do you seek the living among the dead?” LGBT Christians and allies sometimes ask themselves the same question as they seek the living Christ in the rusty, deadening rituals and relics of the institutional church.

“Why do you seek the living among the dead?” -- Luke 24:5 (RSV)

Mary Magdalene went to the tomb of her friend Jesus early on Sunday morning. It was empty! She started crying and someone came up to her. Mary thought he was the gardener until he spoke her name. Her heart leaped as she recognized Jesus. Human beings often miss the presence of God right before our eyes. Like Mary, we get lost in our emotions. It feels like God is far away or even dead. Then something happens and suddenly we see: God was with us all along. Jesus chose an unlikely person as the first witness to his resurrection. Women were second-class citizen in the time of Jesus, not unlike LGBT people in some countries today. But Jesus, who loved outcasts, gladly revealed himself to the woman who came looking for him. Christ is ready to speak to each of us by name, even if we are looking in all the wrong places.

Jesus, where are you now? Will you speak to me?

The final five paintings in the gay Passion series are presented below with short meditations only.

20. Jesus Appears at Emmaus (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“When he was at table with them, he took the bread and blessed, and broke it, and gave it to them. And their eyes were opened and they recognized him.” -- Luke 24:30-31 (RSV)

“For where two or three are gathered in my name, there am I in the midst of them.” -- Matthew 18:20 (RSV)

Two travelers met a stranger on the way to a village called Emmaus. While on the road they told the stranger about Jesus: the hopes he stirred in them, his horrific execution, and Mary’s unbelievable story that he was still alive. Their hearts burned as the stranger reframed it for them, putting it in a larger context. They convinced him to stay and join them for dinner in Emmaus. As the meal began, he blessed the bread and gave it to them. It was one of those moments when the presence of God breaks through ordinary life. Suddenly they saw: The stranger was Jesus! He had been with them all along. Sometimes even devout Christians are unable to see God’s image in people who are strangers to them, such as LGBT people or others who have less social status. People can also be blind to their own sacred worth. But at any moment, the grace of an unexpected encounter can open our eyes.

Come and travel with me, Jesus. Or are you already here?

21. Jesus Appears to His Friends (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“See my hands and my feet, that it is I myself; handle me, and see.” -- Luke 24:39 (RSV)

“The doors were shut, but Jesus came and stood among them, and said, ‘Peace be with you.’” -- John 20:26 (RSV)

Jesus’ friends were hiding together, afraid of the authorities who killed their beloved teacher. The doors were shut, but somehow Jesus got inside and stood among them. They couldn’t believe it! He urged them to touch him, and even invited them to inspect the wounds from his crucifixion. As they felt his warm skin, their doubts and fears turned into joy. Jesus liked touch. He often touched people in order to heal them, and he let people touch him. He defied taboos and allowed himself to be touched by women and people with diseases. He understood human sexuality, befriending prostitutes and other sexual outcasts. LGBT sometimes hide themselves in closets of shame, but Jesus wasn’t like that. He was pleased with own human body, even after it was wounded.

Jesus, can I really touch you?

22. Jesus Returns to God (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“As they were looking on, he was lifted up, and a cloud took him out of their sight.” -- Acts 1:9 (RSV)

“As the bridegroom rejoices over the bride, so shall your God rejoice over you.” -- Isaiah 62:5 (RSV)

Words and pictures cannot express all the bliss that Jesus felt when he returned to God. Some compare the joy of a soul’s union with the divine to sexual ecstasy in marriage. Perhaps for Jesus, it was a same-sex marriage. Jesus drank in the nectar of God’s breath and surrendered to the divine embrace. They mixed male and female in ineffable ways. Jesus became both Lover and Beloved as everything in him found in God its complement, its reflection, its twin. When they kissed, Jesus let holy love flow through him to bless all beings throughout timeless time. Love and faith touched; justice and peace kissed. The boundaries between Jesus and God disappeared and they became whole: one Heart, one Breath, One. We are all part of Christ’s body in a wedding that welcomes everyone.

Jesus, congratulations on your wedding day! Thank you for inviting me!

___
Bible background
Song of Songs: “O that you would kiss me with the kisses of your mouth!”

23. The Holy Spirit Arrives (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“There appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit.” -- Acts 2:3-4 (RSV)

“I will pour out my Spirit upon all flesh, and your sons and your daughters shall prophesy, and the young shall see visions, and the old shall dream dreams.” -- Acts 2:17  (Inclusive Language Lectionary)

Jesus promised his friends that the Holy Spirit would come to empower them. They were together in the city on Pentecost when suddenly they heard a strong windstorm blowing in the sky. Tongues of fire appeared and separated to land on each one of them. Jesus’ friends were flaming, on fire with the Holy Spirit! Soon the Spirit led them to speak in other languages. All the excitement drew a big crowd. Good people from every race and nation came from all over the city. They brought their beautiful selves like the colors of the rainbow. Each one was able to hear about God in his or her own language. The story of Jesus has been translated into many languages. Now the Gospel is also available with an LGBT accent. Inspired by the Holy Spirit, we too can hear God’s story. We are the flaming friends of Jesus!

Come, Holy Spirit, and kindle a flame of love in my heart.

24. The Trinity (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“Truly, I say to you, today you will be with me in Paradise.”-- Luke 23:43 (RSV)

“Blessed are those who are persecuted for righteousness’ sake, for theirs is the realm of heaven.” -- -- Matthew 5:10 (Inclusive Language Lectionary)

God promises to lead people out of injustice and into a good land flowing with milk and honey. We can travel the same journey that Christ traveled. His spirit and legacy live on in everyone who remembers his Passion. Opening to the joy and pain of the world, we can experience all of creation as our body -- the body of Christ. As queer as it sounds, we can create our own land of milk and honey. The Holy Spirit inspires each person to see heaven in his or her own way. Look, the Holy Spirit celebrates two men who love each other! She looks like an angel as She protects the same-sex couple. Are the men Jesus and God? No names can fully express the omnigendered Trinity of Love, Lover, and Beloved… or Mind, Body, and Spirit. God is madly in love with everybody. As Jesus often said, heaven is here among us and within us. Now that we have seen a gay vision of Christ’s Passion, we are free to move forward with love.

Jesus, thank you for giving me a new vision!

___

Click the titles below to view previous installments in the series:

1. Son of Man (Human One) with Job and Isaiah
2. Jesus Enters the City
3. Jesus Drives Out the Money Changers
4. Jesus Preaches in the Temple
5. The Last Supper
6. Jesus Prays Alone
7. Jesus Is Arrested
8. Jesus Before the Priests
9. Jesus Before the Magistrate
10. Jesus Before the People
11. Jesus Before the Soldiers
12. Jesus Is Beaten
13. Jesus Goes to His Execution
14. Jesus Is Nailed to the Cross
15. Jesus Dies
16. Jesus Is Buried
17. Jesus Among the Dead

This concludes the series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry. For the whole series, click here.

The book version of “The Passion of Christ: A Gay Vision” will be published in 2014 by Apocryphile Press. Click here to get updates on the gay Passion book.

Holy Week offering: Give now to support LGBT spirituality and art at the Jesus in Love Blog

Reproductions of the Passion paintings are available as greeting cards and prints in a variety of sizes and formats online at Fine Art America.


Scripture quotations are from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Scripture quotations are from the Inclusive Language Lectionary, copyright © 1985-88 National Council of the Churches of Christ in the United States of America.

____
This post is part of the Queer Christ series by Kittredge Cherry at the Jesus in Love Blog. The series gathers together visions of the queer Christ as presented by artists, writers, theologians and others. More queer Christ images are compiled in my book Art That Dares: Gay Jesus, Woman Christ, and More.

Happy Easter from Jesus In Love and Kittredge Cherry!

April 20, 2014, 6:53 am

≫ Next: Easter photo with MCC founder Troy Perry

≪ Previous: Day 8: Jesus rises, appears to Mary and friends, and more (Gay Passion of Christ series)

$

0

0

“Celtic Cross with Rainbow” by Andrew Craig Williams

Happy Easter! Christ is risen!  Rejoice!

A rainbow, symbol of the LGBTQ community, shines behind a Celtic cross of interlaced knots in this year’s Easter image.

May you be wrapped in God's infinite love as the never-ending paths of spirit and flesh weave together in your life!

The braided “never-ending path” of decorative Celtic design can represent the crossing of spiritual and physical paths in life. The ring that surrounds the intersection of the Celtic cross is said to symbolize God’s infinite love, Christ’s halo or the sun.

This glorious Easter image was created for Jesus in Love by Andrew Craig Williams, a queer artist, writer and music maker based in Wales. His Easter artwork has become a tradition at Jesus in Love, with previous images in 2012 and 2013. The title of his this year’s picture in Welsh is “Croes Geltaidd gyda Enfys.”

For the true meaning of Easter, check out The Passion of Christ: A Gay Vision with art by Douglas Blanchard and expanded commentary by Kittredge Cherry.

You are invited to give to my Easter offering to support my work at Jesus in Love for LGBT spirituality and the arts. Give now by clicking by visiting my donate page.

Thank you to everyone for the many ways you show support.  Christ is risen indeed!  Happy Easter!

Easter photo with MCC founder Troy Perry

April 25, 2014, 1:36 pm

≫ Next: Christina Rossetti: Queer writer of Christmas carols and lesbian poetry

≪ Previous: Happy Easter from Jesus In Love and Kittredge Cherry!

$

0

0

On Easter Sunday I had the joy of running into old friends at church, including Troy Perry, founder of Metropolitan Community Churches.

The photo shows, left to right: music director Jane Syftestad, AIDS ministry pioneer Steve Pieters, myself (Kittredge Cherry), Troy Perry, and my life partner Audrey.

We’ve known each other for decades, but I can’t remember the last time we were all together.

This happy moment came after Easter morning worship at Founders MCC in Los Angeles. Pastor Neil Thomas gave a great sermon on “The Best Coming Out Story Ever.”