Per Wikipedia, Dali was inspired to depict Christ at this steep superior angle by a drawing made by the 16th century Spanish friar John of the Cross, hence the painting’s name. It is an arresting perspective that provokes many ideas at once. And with this I contrast my experience at the Uffizi in Florence, which felt like an endless droning of flat/2D works of conventional religious iconography that sucked the life out of most everything. Death by art. That ticket should come with a phat line of coke. Dali’s work is, on the other hand, alive with the frisson of surprise and possibility. Life in art. And, so, I have a few loosely integrated thoughts on this work:
1. The cross reminds me of the Monolith from Kubrick’s “2001.” In that construct, the apes are us. And if the modern GOP is any tell, then the band DEVO was correct about our inevitable de-evolution. “The Enshittification of Man” would be a fitting title card for a timely re-make.
2. Dali’s depiction is notable for the absence of nails, blood and the crown of thorns. We also don’t see Christ’s face. But he’s pretty cut and his hair is terrific. Maybe it was meant for a Vitalis magazine ad, as Dali always had an eye on the market (“Touched By the Hair of God” or something such). And blood is generally bad for sales in the personal hygiene arena.
3. The lower portion of the painting has the look of a more traditional seascape with fisherman by a PLACID lake, perhaps off the Galilee exit. It seems to ask, “Do you believe in miracles?” Yes!!
4. There have been other unconventional takes on the crucifixion. Two of the most controversial are the iconoclastic sculpture called “McJesus” (2015) by the Finnish artist Jani Leinonen and the photograph “Piss Christ” (1987) by Andres Serrano. I love them both, and that sentiment was hard won through eight years endured in Catholic school. Apostasy is the new black, BTW.
5. Getting back to Dali, that uncanny perspective from above doesn’t cease to be jarring, maybe because it forces you to imagine a greater being looking down on us. Both spooky and dizzyingly powerful at once. Just like the masterful angle in a Hitchcock scene or the slant perspective of a Vivian Maier photograph, it’s a rib punch that catches you short. Disorients. Shakes you up a bit. And maybe that’s a pretty good definition of meaningful art…
Dali’s take has me pondering, as a devoutly-lapsed Catholic, this hypothetical (if a touch heretical) dialogue between the members of the Holy Trinity:
Jesus: This is bullshit.
God: What did they do to you? Apologies, I stepped away.
Jesus: Bloody crucifixion, that’s all.
Holy Ghost: Sorry, bro.
Jesus: And it takes soooo damned long.
God: Who are those other two?
Jesus: Dismas and Gestas. Dismas is pretty cool. We chatted a bit. He’s with me. Gestas is just a dick.
Holy Ghost: I heard.
Jesus: You were watching?
Holy Ghost: From a distance. Got stuck in goatherd traffic.
God: Yeah, but anyway I’ve been trying out this new non-interventionist approach to life. You’re supposed to just let things flow. Focus on your breathing. It really works!
Jesus: Christ!
God: But don’t worry, we’ll fuck ’em up big-time now. Get pre-Medieval on their asses.
Holy Ghost: Oh, hell yes. I’m in!
Jesus: Mother Mary and Joseph… have you two not listened to one word I’ve uttered these last 33 years?!
Great Exudations 