The New York Times Feature: Mary Magdalene
Updated: Sep 24
David’s “Mary Magdalene: Abiding Lamentation” is shown installed alongside
the sculpture “Wild Woman (Maria Magdalena)” by Kiki Smith (1994).
The New York Times features David LaChapelle’s Mary Magdalene: Abiding Lamentation in its coverage of the Städel Museum’s major exhibition “Mary Magdalene: Sin. Pray. Love.” The exhibition in Frankfurt brings together more than 100 works spanning centuries to examine the evolving image and cultural legacy of one of the Bible’s most enduring figures.
LaChapelle’s 2018 portrait of Kim Kardashian as Mary Magdalene is presented within the exhibition’s contemporary section. In the article, Städel curator Dr. Eclercy describes LaChapelle’s image as part of a group of contemporary works that reinterpret Mary Magdalene through modern visual culture. The exhibition places LaChapelle’s photograph within a lineage stretching from historic religious painting and sculpture to photography and contemporary art.
In Mary Magdalene: Abiding Lamentation, LaChapelle draws upon the centuries-old visual tradition surrounding Magdalene while creating an image unmistakably situated within contemporary culture. The Städel exhibition considers precisely this evolution: how artists across generations have continually reimagined Mary Magdalene in response to the beliefs, values and visual language of their own time.
Sacred imagery has long occupied an important place within LaChapelle’s work. Throughout his career, he has returned to saints, biblical figures and Christian iconography as a means of exploring faith, compassion, suffering, redemption and transcendence. His celebrated Jesus Is My Homeboy series brought Christ into contemporary settings, while works including Intercessionand his interpretations of Mary Magdalene continue a dialogue between traditional religious imagery and the present day.
“Mary Magdalene: Sin. Pray. Love.”Städel Museum, Frankfurt
September 17, 2026 – January 17, 2027
Featured in The New York Times, September 22, 2026.
It's interesting that the Städel chose to hang LaChapelle's Kim Kardashian portrait right next to Kiki Smith's "Wild Woman" — that pairing alone says a lot about how we keep recasting Magdalene through whatever visual language feels current. The curator's point about lineage stuck with me, since it's really about how images get reused and reinterpreted until the original context fades. Speaking of things that get refined through repetition, I've been reading up on dipmethod lately, and the way it studies patterns and staged entries feels oddly similar to how this exhibition traces a figure across centuries. Either way, it's a thoughtful feature and makes me want to see the show in person.
HI88 tình cờ được mình biết đến khi đang đọc một bài viết về quản lý tài liệu và xem phần nguồn tham khảo ở cuối trang. Thấy tên này nằm trong danh sách nên mình mở thử cho biết. Mình chỉ lướt qua vài trang, không đi sâu vào từng tính năng. Điều dễ nhận thấy là bố cục khá sạch, tiêu đề và nội dung được phân biệt rõ, chuyển qua các khu vực cũng tương đối thuận. Xem nhanh trên máy tính lẫn điện thoại đều không tạo cảm giác quá rối.
What a captivating feature on Mary Magdalene! David LaChapelle's unique perspective really brings her story to life. It’s fascinating how art can reinterpret historical figures—almost like how five nights at freddy's reimagines horror icons. What inspired LaChapelle for this project?
The quality of education depends on several factors, including the curriculum, faculty guidance, practical exposure, and access to learning https://nitmeghalaya.org/ resources. Students should consider these aspects when comparing engineering institutions. Understanding the academic structure of a course can help applicants prepare for its requirements. Making an informed choice is important for building a strong educational foundation.
I found Lachapelle’s portrayal of Mary Magdalene fascinating, especially in how it challenges traditional narratives. How do you see his interpretation affecting modern views on women in art? Also, what's your take on the eggy car metaphor he used?