Jesus was an only son and love his only concept
September 2014: The projection night at the Encontros da Imagem photography festival in Braga, Portugal
In “Jesus was an only son and love his only concept” we explored the Encontros da Imagem photography festival’s theme of “Hope and Faith” and presented a video on religious iconography and personal interpretations of religion in photography. This digital exhibition starts with religious representations in early photography: in the 1800’s photographers continued in the tradition of painters and created theatrical scenes and posed photographs, depicting biblical stories referring to Renaissance paintings. Postcards illustrating religious scenes were popular at that time too.
By the 20th century the issue of identity had become the focus in the re-emergence of the religious icon in photography, and the concept of Christ became more of a symbol to express ideas and concepts outside the boundaries of religion. This personal interpretation to the image of Christ is particularly evident in contemporary photography and post-modernists use the religious image for its power. By personalising the image, new meaning is ‘localised’ to the individual. There are no Christian depictions in Judaism and Islam, but artists from these religions still use Christian iconography in their work (Madonna and Child, Last Supper, Crucifixion) which can be seen in this presentation.
Artists include: Julia Margaret Cameron, Gertrude Kasebier, Oscar Rejlander, Fred Holland Day, Man Ray, John Heartfield, Paul Strand, Eugene Smith, Bert Stern, Therese Frare, Joel Peter Witkin, Andres Serrano, George Hugnet, Faisal Abdu’Allah and Clive Allen, Rotimi Fani-Kayode, Max Kandhola, Duane Michels, Sam Taylor Wood, Desiree Dolron, Samuel Arranda, Adi Nes, Nazif Topcuoglu, Zhang Xianyong