Blasphemous feminist art: Incarnate politics of identity in post secular society (2024)

Korte, A.-M. (2014). Blasphemous feminist art: Incarnate politics of identity in post secular society. In R. Braidotti, B. Blaagaard, T. de Graauw, & E. Midden (Eds.), Transformations of Religion and the Public Sphere: Postsecular Publics (pp. 228-248). (Palgrave politics of identity and citizenship series). Palgrave Macmillan. https://doi.org/10.1057/9781137401144_13

Korte, Anne-Marie. / Blasphemous feminist art: Incarnate politics of identity in post secular society. Transformations of Religion and the Public Sphere: Postsecular Publics . editor / Rosi Braidotti ; Bolette Blaagaard ; Tobijn de Graauw ; Eva Midden. Basingstoke : Palgrave Macmillan, 2014. pp. 228-248 (Palgrave politics of identity and citizenship series).

@inbook{594812ad204b48778bd7c59f08788b6e,

title = "Blasphemous feminist art: Incarnate politics of identity in post secular society",

abstract = "Among the increasing number of publicly exhibited works of art that have become accused of blasphemy or sacrilege in the context of cultural identity politics in Western societies, religiously connoted feminist art works and performances seem to stand out and to fulfil a particularly provocative role. The concerned works of art have remarkable common traits in their disputed imagery. They connect almost palpable and often naked human bodies to iconic sacred scenes of Western Christian culture and art, such as the suffering Jesus Christ on the cross, the Last Supper, the Virgin Mary with the child Jesus, or the Piet{\`a} (Mater Dolorosa). Well known examples are works such as Ecce hom*o by Elisabeth Ohlson (Sweden), I.N.R.I. by Serge Bramly and Bettina Rheims (France), Yo Mama{\textquoteright}s Last Supper by Ren{\'e}e Cox (USA), Our Lady by Alma L{\'o}pez (USA), The Blood Ties by Katarzyna Kozyra (Poland), and Passion by Dorota Nieznalska (Poland). More recently, also songs and acts consisting of social, political, and religious critique, performed {\textquoteleft}provocatively{\textquoteright} by pop and punk artists such as Madonna, Lady Gaga, and the Russian formation puss* Riot, have become publicly contested for comparable reasons. All these works of visual or performative art have been accused — more or less formally — of blasphemy or sacrilege, which contributed to both their notoriety and their controversiality by causing huge media attention.",

author = "Anne-Marie Korte",

year = "2014",

doi = "10.1057/9781137401144_13",

language = "English",

isbn = "978-1-137-40113-7 ",

series = "Palgrave politics of identity and citizenship series",

publisher = "Palgrave Macmillan",

pages = "228--248",

editor = "Rosi Braidotti and Bolette Blaagaard and {de Graauw}, {Tobijn } and Eva Midden",

booktitle = "Transformations of Religion and the Public Sphere: Postsecular Publics",

}

Korte, A-M 2014, Blasphemous feminist art: Incarnate politics of identity in post secular society. in R Braidotti, B Blaagaard, T de Graauw & E Midden (eds), Transformations of Religion and the Public Sphere: Postsecular Publics . Palgrave politics of identity and citizenship series, Palgrave Macmillan, Basingstoke, pp. 228-248. https://doi.org/10.1057/9781137401144_13

Blasphemous feminist art: Incarnate politics of identity in post secular society. / Korte, Anne-Marie.
Transformations of Religion and the Public Sphere: Postsecular Publics . ed. / Rosi Braidotti; Bolette Blaagaard; Tobijn de Graauw; Eva Midden. Basingstoke: Palgrave Macmillan, 2014. p. 228-248 (Palgrave politics of identity and citizenship series).

Research output: Chapter in Book/Report/Conference proceeding › Chapter › Academic › peer-review

TY - CHAP

T1 - Blasphemous feminist art: Incarnate politics of identity in post secular society

AU - Korte, Anne-Marie

PY - 2014

Y1 - 2014

N2 - Among the increasing number of publicly exhibited works of art that have become accused of blasphemy or sacrilege in the context of cultural identity politics in Western societies, religiously connoted feminist art works and performances seem to stand out and to fulfil a particularly provocative role. The concerned works of art have remarkable common traits in their disputed imagery. They connect almost palpable and often naked human bodies to iconic sacred scenes of Western Christian culture and art, such as the suffering Jesus Christ on the cross, the Last Supper, the Virgin Mary with the child Jesus, or the Pietà (Mater Dolorosa). Well known examples are works such as Ecce hom*o by Elisabeth Ohlson (Sweden), I.N.R.I. by Serge Bramly and Bettina Rheims (France), Yo Mama’s Last Supper by Renée Cox (USA), Our Lady by Alma López (USA), The Blood Ties by Katarzyna Kozyra (Poland), and Passion by Dorota Nieznalska (Poland). More recently, also songs and acts consisting of social, political, and religious critique, performed ‘provocatively’ by pop and punk artists such as Madonna, Lady Gaga, and the Russian formation puss* Riot, have become publicly contested for comparable reasons. All these works of visual or performative art have been accused — more or less formally — of blasphemy or sacrilege, which contributed to both their notoriety and their controversiality by causing huge media attention.

AB - Among the increasing number of publicly exhibited works of art that have become accused of blasphemy or sacrilege in the context of cultural identity politics in Western societies, religiously connoted feminist art works and performances seem to stand out and to fulfil a particularly provocative role. The concerned works of art have remarkable common traits in their disputed imagery. They connect almost palpable and often naked human bodies to iconic sacred scenes of Western Christian culture and art, such as the suffering Jesus Christ on the cross, the Last Supper, the Virgin Mary with the child Jesus, or the Pietà (Mater Dolorosa). Well known examples are works such as Ecce hom*o by Elisabeth Ohlson (Sweden), I.N.R.I. by Serge Bramly and Bettina Rheims (France), Yo Mama’s Last Supper by Renée Cox (USA), Our Lady by Alma López (USA), The Blood Ties by Katarzyna Kozyra (Poland), and Passion by Dorota Nieznalska (Poland). More recently, also songs and acts consisting of social, political, and religious critique, performed ‘provocatively’ by pop and punk artists such as Madonna, Lady Gaga, and the Russian formation puss* Riot, have become publicly contested for comparable reasons. All these works of visual or performative art have been accused — more or less formally — of blasphemy or sacrilege, which contributed to both their notoriety and their controversiality by causing huge media attention.

U2 - 10.1057/9781137401144_13

DO - 10.1057/9781137401144_13

M3 - Chapter

SN - 978-1-137-40113-7

T3 - Palgrave politics of identity and citizenship series

SP - 228

EP - 248

BT - Transformations of Religion and the Public Sphere: Postsecular Publics

A2 - Braidotti, Rosi

A2 - Blaagaard, Bolette

A2 - de Graauw, Tobijn

A2 - Midden, Eva

PB - Palgrave Macmillan

CY - Basingstoke

ER -