Social Justice Art: Chris Ofili’s The Holy Virgin Mary

The topic of social justice art is not exclusive to the 20 th and 21 st centuries. Media
proliferation has significantly increased information distribution concerning controversial art
with race, gender, environmental, and sexual themes (Martin, 2018). Controversial art
incorporates movies, music, novels, essays, sculptures, and poems.
The controversial art example I chose is Chris Ofili’s The Holy Virgin Mary. The virgin
portrayed in this piece of art is a black woman encircled by winged cherubs (putti) with bare
bottoms. The virgin’s genitalia is also cut out from pornographic magazines (Desai, 2020). The
painting is supported by two elephant dung balls inscribed with the words “Mary” and “Virgin.”
A third clump is also used in the painting to define one of the virgin’s breasts (Desai, 2020).
The piece of art reflects Ofili’s African culture while showcasing divinities and female
organs symbolizes Virgin Mary’s fertility (Desai, 2020). It was anti-Catholic and blasphemous to
many audiences and was tarnished by an angry spectator using white paint in Brooklyn while on
display. The Catholic community became outraged that someone depicted art associated with
their sacred Virgin Mary in such a demeaning manner, especially using clippings obtained from
pornographic magazines and elephant dung (Desai, 2020). This piece of art was regarded by
spectators as blasphemy hence making them angry.
The art piece did not please the then New York’s mayor, and he threatened to evict the
museum displayed from the city’s owned building and cut off funding (Desai, 2020). The mayor
went public concerning Ofili’s interpretation of the art as “sick stuff.” The mayor thought the
painting was an insult to Catholics, and the museum wasted taxpayers’ money by supporting
disgusting and horrible projects. Even though these strategies aimed to hurt Ofili’s artwork and
existence in the art community, he only acquired more prominence and attention (Desai, 2020).

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This piece of art had significant social influence because art is anything that the artist anticipates
to be within the industry. On the Art Newspaper web page, Ofili states that the idea that a Holy
Virgin gave birth to a young boy confused him (Desai, 2020). When he goes to the National
Gallery to see the Virgin Mary’s painting, Ofili states that he sees how they are sexually charged,
confirming that his painting is simply a hip-hop version (Miller, 2018). Many people prefer the
hip-hop version because it enables artists to enjoy the freedom to showcase what they want
regardless of the controversy it may cause.
Artists are free to showcase anything they want and do so in any way they feel is
appropriate. Even though it may cause controversy among other people, the most important thing
is the artist’s prerogative (Miller, 2018). In a sense, art represents freedom of speech. Even
though the government can play a crucial role in editing some forms of art, it does not deviate
from the fact that the art originates from an artist’s point of view regardless of whether their
intentions are considered appropriate or not (Miller, 2018). In my opinion, there are some
reasons whereby the government can be vindicated in art censoring. However, it opposes the
artists’ freedom of speech in many instances.
This artwork is associated with numerous influences. First, the artwork makes blind
assumptions that perpetuate racial and cultural ignorance that enhances animosity and prevents
understanding (Miller, 2018). Terms such as progression and modernity are considered de facto
rather futile. As such, suggesting that something is erroneous by not fitting into conventional
thought is regarded by many as Western Imperialism. As visual culture and art spectators,
respect and not anger should be the only opinion divider. Ofili emotionally stated that the people
who attacked his painting attacked their interpretation (Miller, 2018).

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Chris Ofili’s The Holy Virgin Mary effectively portrays the artist’s message, and the
artwork is considered formally motivated and political (Miller, 2018). Ofili did not just return to
painting; he also returned to visual pleasure and decoration when art was anticipated to conform
to postmodernism’s cerebral aesthetics. Perhaps, Ofili’s attraction to earthly materials, gaudy
bright colors, and sparkling surfaces, combined with his project’s highly conceptualized stakes,
replicates another combination of profane and sacred art world’s conservatism (Miller, 2018). By
incorporating low and high art forms, religion, historical narratives, and pop culture, Ofili’s The
Holy Virgin Mary characterizes a profound inquiry than the sensation spectacle would imply
(Miller, 2018).
Chris Ofili’s The Holy Virgin Mary should be considered art for numerous reasons.
Firstly, Ofili represents a black Virgin Mary using an exuberance characteristic of his artworks
(Miller, 2018). Secondly, the artist covered the canvas with resin, glitter, and pins in addition to
paints so that the painting could sparkle and reflect light (Miller, 2018).
Conclusively, Chris Ofili’s The Holy Virgin Mary reflects African culture while
showcasing religions and female organs symbolizes Virgin Mary’s fertility. Ofili’s attraction to
earthly materials, gaudy bright colors, and sparkling surfaces replicates a combination of profane
and sacred art world’s traditionalism.

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References

Desai, D. (2020). Educating for social change through art: A personal reckoning. Studies in Art
Education, 61(1), 10-23. https://aaep.osu.edu/sites/default/files/2020-
10/desai_educating_for_social_change_through_art-_a_personal_reckoning.pdf
Martin, F. D. (2018). Humanities through the Arts (10th Edition). McGraw-Hill Higher
Education (US). https://ambassadored.vitalsource.com/books/9781260154238
Miller, J. H., (2018). Controversial ‘hip-hop version’ of the Virgin Mary given to MoMa. The
Art Newspaper. Retrieved from https://www.theartnewspaper.com/news/steve-cohen-
gives-chrisofili-s-virgin-mary-to-moma