David La Chapelle photographic series “Jesus is my homeboy" Humor in David La La Chapelle photographs According to La Chapelle, first-century Palestine saw apostles who were not in nobility (Jaeger, 75). Apostles pursuing and learning from Christ did not come from well-off backgrounds, neither were they popular amongst the local people…
Furthermore, such individuals would have been Jesus’ closest companions and most truthful group of disciples. The product of his imagination or speculation saw the creation of a set of six photos labeled, as “Jesus is my Homeboy.” In 2003, the album was published in British magazine i-D. After the publication, the album was displayed in London and Moritz, Switzerland in 2008 (Jaeger, 85). On an analytical and literary note, La Chapelle’s photos were a series of illustrations that freed from fundamentalists. Such philosophers and theorists viewed Jesus’ teachings as a judgmental and condemning platform that could not uplift the lives of other people in the society (LaChapelle, Mercurio, Torres & Belvedere, 91). Unlike many pieces of artwork of Jesus during modernism, La Chapelle makes it clear that his photographs are not implied to be ironic, shocking or blasphemous in any way. Instead, La Chapelle uses the photographs to express a beautiful sensation and the genuineness of his own belief in Jesus Christ. On the contrary, most observers of La Chapelle’s “Jesus is my Homeboy” photos say they illustrate the exact opposite. A majority of observers to describe the album “Jesus is my Homeboy” (Jaeger, 93) has used literary features, such as humor, sarcasm and symbolism. The subjects surrounding Jesus implied that the society is not supposed to cast out or retract from such individuals. Instead, the society should invite and embrace these individuals into the normal system while still making an effort to show similar tenderness and compassion Jesus portrays (LaChapelle, Mercurio, Torres & Belvedere, 164). According to La Chapelle, the leading objective of this set of photographs was to assist in dismissing the judgmentalism from fundamentalists (Jaeger, 221). Therefore, La Chapelle believed he could accomplish this be presenting Jesus in the contemporary society surrounded by the outcasts of the current community. Similar to biblical references, Jesus was surrounded by societal outcasts such as lepers, Samaritans and demon-posses people. The subjects on photos in the set “Jesus is my Homeboy” have put on modern fashion statements such as do-rags and sweats, tattoos and piercings. These garments and adornments are affiliated with a group of contemporary society in need of mental and social help. In other words, the degenerated or rebellious group of society has been placed closest to a religious deity. Even though La Chapelle’s implication was not of a criminal nature, multi-ethnicity amongst the youths is an accomplishment well defined by the photographs. Apparently, all youths posing as subjects in the photographs are of rap and hip-hop culture. The rap and hip-hop culture constitutes of a group that is regularly stigmatizes by their appearance, fashion and interaction. In the United States, many people not belonging or affiliated with such a culture would fear interacting with individuals embracing such a culture because of the fear conjured up by their character. Ironically, Jesus can see beyond typecasts and invites all such individuals into his companionship (La Chapelle, Mercurio, Torres & Belvedere, 104). Aside from irony, humor develops from the traditional image that Jesus retains in the photos. Despite being in the twenty-first century, Jesus’ image retains the historic characteristic that has been ...
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