Professional Documents
Culture Documents
Self Portrait
Self Portrait
A True Self ?
By:
Sophie Johnson
traces
of the self
explode
out of the
human physicality
fingerprints
are
left behind
without
moments
thought
hair follicles
imitate
hitchhikers
wandering
along
desert
roads
the molecules left behind from a breath
l i n g e r
in
the
air
Such is true for artists
and their work. Artists put all
of their self into the art they
produce. Depending on the
archival nature of the art,
centuries down the line that art
will be revisited when the
artist is no longer a member of
the human social network.
Every piece of art in
existence harbors traces of
its maker. Whether it lies
within the context of the art,
the way the materials are used,
or the literal subject matter,
the artist creates in a unique
manner according to their own
aesthetic preferences. Who is to
argue that all art is not a true
representation of the artist?
Perhaps a selfportrait presents
the obvious nature of the self
that the artist wishes to
display, but is it a true
representation? Can the viewer
entrust their opinion of the
artist’s true self based on
the artist’s depiction of his
or her own appearance?
Personal life experiences
reverberate across every artist’s
work. In turn, the artist’s self is
represented in every work they
produce. SelfPortraiture does not
stand alone in the personification of
the artist; all pieces in an artist’s
collection illustrate the artist’s
identity. However, according to
Gasser the artist’s self portrait
allows us humble outsiders a
glimpse at the intimacy housed in
an artist’s selfportrait (Gasser, 7).
Is that intimacy the ultimate truth?
Perhaps not…
Here in lies the conundrum.
The exploration of the selfportrait as a true representation of the self begins
neutral figure as forms in her art (Weitman,
24). While in attendance at ULAE, she began
to use her own image as the forms in her
prints.
“There’s
something
really
nice about
transgress
ing your
own image.
It’s
endlessly
amusing to
make
yourself
horrific-
looking”-
Kiki Smith
(Weitman, 25)
Smith uses herself as an image in many different ways.
In her piece Banshee Pearls (1991) she toys with reality by
using negative photograph images of her face in graphic
transfers and contrasting the photorealism with blurry
mask-like masses with the resulting aesthetic that dwindles
between creepy and beautiful (Weitman, 25). Here, Smith revisits
a childhood memory of her father calling her a banshee and
uses this recollection as the inspiration for this piece
(Weitman, 25).
“When I fall in
love with somebody,
I invariably
discovered that I
did not receive
from them what my
education and
fantasy required.
As a result, I
shifted myself to
myself.”
– Lucas Samaras
(Prather, 44)
Kuspit explains that Samaras constantly shifts back to the self as the object
of his affection, and in turn portrays that in his art (Prather, 44).
Samaras selfportraits are
a journey through the artist’s life.
The differences in the variety of
his portraits reflect the multiple
aspects of being human. To truly
be able to capture the self in one
painting or drawing is near
impossible. Samaras uses his
entire career to strive to capture
the self, and in doing so is able to
explore every unique aspect of his
persona.
“Samaras’s
creativity feeds on
itself, rummaging
through the past to
find an artistic
future, which is
what narcissistic,
myth-making memory
always does” –
(Prather, 57)
At the root of
every one of Samaras’s
selfportraits is a
primordial presence
(Prather, 50). Self
portraits in nature are
about self-
representation.
Samaras portraits
preserve the nature of
the self the way many
selfportraits cannot
(Prather, 50). Samara
attached all of his
experiences from his
life to his work, the way
Smithdraws inspiration
from her life and
portrays that in her art.
However, Samara titled
all of his art as a
representation of
himself, whereas Smith
chose to use various
subject matters.
An artist’s content is a true
representation of who they are.
Content may change based on different
revelations and moments in an artist’s
life, but it always relates back to the
artist’s experience.
At what point can the artist ever be
separated from their art?
Whether the chosen subject matter is a
selfportrait or a landscape,
the artist is
always present
in the art.
Bibliography
1.Gasser, M. (1961). Selfportraits. NY, NY: AppletonCentury.
2.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas
samaras. NY, NY: Whitney Museum of Art.
3.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of
Modern Art.
4.
5.
6.
Images
1.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
2.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of Modern Art.
3. http://wings.buffalo.edu/english/faculty/conte/syllabi/377/Images/Johns_Ski
ns.jpg
4.http://gimps.de/pictures/albums/userpics/10001/hairstylesforshorthair.jpg
5.Sophie Johnson. (2010). Fargo, ND.
6.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
7.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
8.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
9.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
10.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
11.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
12.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of Modern Art.
13.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of Modern Art.
14.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of Modern Art.
15.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of Modern Art.
16.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of Modern Art.
17.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of Modern Art.
18.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
19.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
20.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
21.Weitman, W. (2003). Kiki smith. NY, NY: The Museum of Modern Art.
22.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
23.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.
24.Prather, M. (2003). Unrepentant ego: the selfportraits of lucas samaras.
NY, NY: Whitney Museum of Art.