This post looks at the self portraiture work of the following photographers:
Francesca Woodman (1958-81) – Space² [1]
Gillian Wearing – Album (2003)
Elina Brotherus – Annonciation (2012)
Vivian Maier – Self-portraits
The questions posed by the course notes are?
• How do these images make you feel?
• Do you think there’s an element of narcissism or self-indulgence in focusing on your own identity in this way?
• What’s the significance of Brotherus’s nakedness?
• Can such images ‘work’ for an outsider without accompanying text?
• Do you think any of these artists are also addressing wider issues beyond the purely personal?
Woodman and Wearing both hide their identity [4] in their work although they are physically present. Woodman uses mirrors and motion to obscure herself from view. Wearing uses prosthetic masks. Both are saying “here I am” but add intrigue by being remote or partially hidden.
Woodman places herself in her images even though she is not necessarily the main point of the work. An example is her response to an assignment where she was tasked to display a particular space by emphasising its character [1]. Her response is creative in that she includes the properties, and limitations of photography being 2D. This is suggested by the title of the series, Space², referencing area rather than volume (cubed). The fact that she is in the image she is not recognisable as she captures the movement of her body within the room. The square format and her movement highlights a lack of space and being enclosed and trapped. It also gives the impression of being erased.
This self-erasure notion is possibly what Susan Bright is referring to when she said “It’s difficult not to read Woodman’s many self-portraits…as alluding to a troubled state of mind“. Another Woodman image, Self-deceipt 4, shows her naked standing in front a of a mottled wall. S hides her face with a mirror that reflects back to the camera leaving a white space where her head would be. The mirror also reflects on to her skin giving a similar mottled effect as the wall and blending in as a result.
The title of this image, Self-deceipt 4, ‘questions the authenticity of any act of self-portraiture’ [4. p14]. This is an interesting point as the author can portray themselves in any way they see fit, as is the case in all aspects of photography (an artistic choice). Just because it is a self portrait does not make it a true reflection of yourself. In Woodman’s case she probably is trying to communicate something truthful about herself to the world as, sadly, she committed suicide at the age of 22.
In her series Album, Wearing planned and prepared meticulously to produce self portraits wearing prosthetic masks of her younger self and family members. The compositions were re-enactments of old family photos. For assignment 2 I flippantly said I would need a time machine to produce a photo of my younger self. Well here an artist has used their imagination and creativity to produce just that.
The results are fairly freaky once you know what she has done. She examines family and relationships and raises questions of how our families make us who we are. I covered a similar theme with assignment 2 although I emphasised the events of my life and expressly stated need for support from my family.
In Higgins’ book [4] Wearing is quoted as saying ‘you’re expected to know so much from the look of someone. I’ve always thought that was very limited. It’s too easy to misjudge’. This is a similar view to Woodman’s where the authenticity of self-portraits is questioned. The viewer is being informed that there is more to person than what you see in a two dimensional image.
Brotherus’ self-portraits in Annonciation, rather than hide and obscure her life and emotions, puts it all out there and in focus. No gimmicks or allusion. Once you know the subject is of her attempts at IVF she conveys the heartache, pain and emotional exhaustion of repeated failed treatments.
In this series she not only tells of her own heartache but of all the other women who have set out and failed in their attempts to have children. The use of nakedness is never more appropriate than it is in a series like this. She can’t give any more to the viewer than this. There’s more to this than nude shots. The emotional strain can be seen throughout the series from quiet reflective seated scenes to more dramatic upsetting scenes. Bruising, medication and the negative pregnancy tests all add to the upset created by failed treatments.
I’ve always been unsure of nudity in photographic art as it is voyeuristic and sometimes seedy. I am always wary of a male photographer justifying a nude female subject. However, for self-portraits it’s the artists choice. The question still remains is it self promotion? I understand the use of nudity in Brothrus’ series as the subject is clear and she shows her face. Woodman uses nudity but covers her face and her message is less obvious and certainly more sinister. This has a lot to do with knowing that she took her own life and at such a young age. It would be interesting to read reviews of her work prior to her death. I think her message becomes clearer with the aid of hindsight.
Vivian Maier (1926-2009) was another photographer whose work became known after her death. In fact she was not known as a photographer (her day job was a nanny) and her work highlighted her outside interest. Her self portrait work is of her reflection in mirrors and windows with the camera on show. These images work as a record of how she wanted to be portrayed rather than how she was seen in her day to day life.
References:
- Space², Providence, Rhode Island, 1975-1978 Tate.org.uk
- Gillian Wearing, Album (2003) – Guardian article [accessed 23/11/17]
- Elina Brotherus – Annonciation (2012)
- Higgins. J, Why It Doesn’t Have To Be In Focus, Thames & Hudson, 2016
- Rainbird. M, Can you see me now? Assignment 2 post
- Vivian Maier website [accessed 21/11/17]
Martyn Rainbird 