Portrayal of Self and the Representation of Women in

the Photography of Female Surrealists

PVD332

Bethany Whittaker
Words: 4955

1
Contents

Introduction & Contextualisation 3

Portrayal of Self 6

Representing the Female Body 11

Conclusion 16

Image Bibliography 17

Bibliography 23

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INTRODUCTION & CONTEXTUALISATION

Women have been increasingly visible in the world of Surrealist Art. Recently,
women have been even more prominent in the art world, as they are more likely to study
art in the first place, therefore leading to more women artists generally.
There is a currently significant critical attention in the role of women in Surrealism because
of the movement’s misogynistic sentiment. The way women within the movement have
worked and been working with Surrealist ideas is a theme that has been addressed in
recent art discourse (Stent, 2012) (Rus, 2014). The men involved in the movement were
often controlling, using women as muses, subjects and assistants. The way that women
were portrayed in the movement is also of importance, not only how they were portrayed
by others but how they chose to portray themselves to collectively represented their
gender. These are the key ideas that this essay will focus on and explore.

Surrealism aimed to resolve the previously contradictory conditions of dream and

reality. The fathers of Surrealism created an atmosphere in which women could create but
could not control. When referring to Surrealism, names such as Breton, Magritte, Ray,
Duchamp, Dali are synonymous with the term. On the contrary the women who were
involved in the movement do not hold equal esteem. Unfortunately, the male domination
of the movement and its intrinsic sexism meant that very few women achieved the same
levels of recognition as the male artists alongside them.
One specific example referred to later is Lee Miller, an artist in her own right, but also muse
and assistant to Man Ray in his Paris days. Alongside Ray, she helped to pioneer the
photographic technique of solarisation, however, very few sources will actually attribute
any of this success even partly to her.

In recent years, women’s Surrealist art has been given more attention by the artistic
community, attracting exhibitions of both original Surrealist and contemporary surrealistic
works, reviving previously unknown work such as that of Claude Cahun and giving much

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deserved attention to the women who worked in the movement and currently continue its
legacy. Women of Surrealism, ‘muses’, such as Lee Miller and Dora Maar, have become
much more appreciated in recent times. During their time working with Surrealist artists
they both began to realise that the art was inspired by them. They changed the initial
ignominy into something they appreciated. Stent states: ‘Women Surrealists used the
naked body as an artistic subject, they were able to turn its original notion of sexual
derogation into one that flaunted and flattered their femininity’ (Stent, 2012, p.26)

In their works, female artists have been able to use themselves as a tool to change
the way they are viewed. When they are in control of a piece, they become aware of how it
is portrayed and more importantly how they are represented. When women began to take
control of their own image, they began to see the light in which they were being exposed
and changed this into something positive. This allowed them much more control over their
own sexuality, representation and setting their own boundaries. We now have much more
respect and acknowledge the significance of their contributions to art. Chadwick in an
essay on women, Surrealism and Self-Representation summarises this shift in appreciation:
‘Woman’ – a representational category shaped by the projection of the masculine
heterosexual unconscious – and toward Surrealist women, a diverse group of
individuals for whom Surrealism had played a significant role in their struggle to
articulate an autonomous feminine subject. In recent years the subject of women
and Surrealism has gained academic currency. University courses are now devoted
to women Surrealist writers and visual artists. Biographies, monographs, and
anthologies of their writings have appeared; and the problematic of
Woman/Surrealism/women, now increasingly viewed through the deconstructive
lenses of post-structuralism and psychoanalytic theory, continue to be debated at
conferences and publications. (Chadwick, 1998, p.4)

Today’s contemporary art world is a much freer market in which women’s art in
cases is valued much more comparably to that produced by their male contemporaries (as
is the case with Tracy Emin for instance). Although we are now nearing equality, we still see
discrepancies in the balance of male to female artists. In academic courses, women are
both more likely to study art subjects, and are more likely to attain a good degree. (DuBois

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2013). Women were outnumbered by men in art, but now we see a larger proportion of
women in art that is not reflected in the professional art world and market.
The essay is sectioned into two main chapters. Portrayal of self will look into how
women are choosing to portray themselves in their imagery, especially in comparison to
how they are portrayed by others. Such as in the case of Lee Miller, who has both been
photographed by others and herself. This can discuss the differences between when
making the decision themselves and when decisions are made on behalf of how the subject
is shown. The second chapter looks at the representation of women. Within the movement
there is a lot of misogynistic feeling and the discussion about this is still one that gains a lot
of academic audience.
This essay will examine three influential female photographers who work with the
concept of surrealism. Elizabeth ‘Lee’ Miller, also known as Lady Penrose, was an American
born in 1907. She created work from the birth of the movement, under the guidance of Man
Ray, who would become a close friend, lover, mentor and confidante. Francesca Woodman,
born 1958, is known for her black and white square format imagery that focuses on models
or herself in intriguing poses and positions. Her work has been appreciated and gained
much more critical reception after her untimely death. Finally, Alicia Savage, an American
working in the present, who uses digital manipulation and construction to create her
artwork. Savage is relatively new to the art scene, but has a large online presence and has
had a few solo exhibitions.
Analysis is provided by focusing on the way women were and are represented by
men within surrealism, how women involved in the movement at the time represented
themselves and the legacy of those representation in contemporary practice. The
methodology used to examine these artists is a mixture of analysis of their imagery, critical
issues raised in debates and theory, reviews from respected critics and published interviews
with the artists or relevant sources.

PORTRAYAL OF SELF

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 Self portraits are commonplace in Surrealist photography. When discussing
portraits, it is difficult to move away from self portraiture as a point of conversation.
Creating an image of yourself can be a mask to hide behind, a revelation or a perception of
the world that you intend to share, as is any art.
Self portraiture can be described as ‘seeing another person as they see themselves’
(Thompson, 1974). When constructing a self portrait, the artist has more control over how
they portray themselves, making conscious choices over props, lighting, etc. to
communicate their intention, interpretation or objective.

Lee Miller’s work included but was not limited to self portraits. She was often used
as a model for others work, and occasionally used herself as her own model. Her style was
underpinned by the people surrounding herself and the ‘vogue’ aesthetic of the time. She
herself made the ‘rare transition from object to subject’ (Burke, 2006) that seemed so
difficult in the life of female muses in the 1930s.
What is important in Miller’s portraits is that she was also used as a model for
others. So she has been both the subject and the photographer. This comparison point is
important to understand the difference between how she is portrayed by others and how
she choses to portray herself. In the 1930s she was photographed hundreds of times by
Man Ray after travelling to France and becoming his assistant. In these images she was
often nude, partially or fully, in a variety of positions and poses and in locations that differ,
sometimes in the studio, sometimes outdoors, sometimes in a home environment. To
understand the images created by Man Ray it is important to note that Miller also shared a
sexual relationship with Man Ray, so was not just his assistant, but also a student and
sexual partner.
In Man Ray’s images Miller is often in positions of weakness or appears to be
captured in moments of privacy. The fact that Man Ray has chosen to portray her like this is
a conscious decision, often alluding to the fact that he felt his female counterparts were
mere objects of enjoyment (Burke, 2011).
Adversely to this, when Miller began to photograph herself, we see her in a different
light. In her own self portraits, (fig. 1 & fig. 3) she depicts an entirely different view of
herself, and this is because she, the photographer has chosen how to represent herself, the
subject.

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 Firstly, in fig. 1 we see Miller clothed sitting on an armchair. This work differs from
Man Ray’s portrayals of her clothed because of the way she is holding herself. She appears
much more confident, the lighting is more flattering and she is wearing clothes and has
styled her hair in a fashion that makes you believe she was prepared for the portrait (in a lot
of Ray’s work we see her looking rather dishevelled). In this image she is portraying a
different version of herself. When Man Ray photographed her he was choosing to make her
appear in the fashion he had chosen. When she was photographing herself, we see her as a
different person entirely, she appears more confident, happier and in control, the body
language she is displaying suggests these things. This could potentially be because she is in
charge of her own representation.
In fig. 3 we see Miller naked. This is important because she has chosen to portray
herself this way, it was not a male idea to create a female nude form for enjoyment, it was a
female deciding to use her body for art. These two ideas are so different yet not discussed.
If a man, especially a man known for his misogyny, chooses to portray a woman as helpless
and naked, this is an entirely different image from a woman choosing this. The fact that she
is allowing her body to be photographed creates a different air around the image. This is a
photograph that represents choice and decision making, which at the time was a new
concept for women, who were still suffering under an unequal and unjust society and
societal pressures.

Francesca Woodman nearly exclusively worked with self-portraiture during her

short lifetime. Her images nearly all include her, if not her alone, usually her with a series of
models or occasionally with family or friends. Woodman created surreal photography that
was strongly concept driven.
Woodman’s work does not have a comparison point like that Miller’s work, as she
was not photographed by others, but there are still important ideas to discuss around why
she was making the decisions she did. Woodman appeared naked in her own work many
times. In the time period that the work was created, the 1970s, there was much less stigma
associated with nudity. Nudity now features in the media more than just within art, whilst
films had begun to show full frontal nudity. In the context of the time, her nudity was not
the most shocking part of her work.

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 Woodman’s portrayal of self is often related to her mental health. Woodman’s
death was not of natural causes, she committed suicide, but it is said that people never
really perceived her as a depressed person and that many were instant that her defining
quality was her humour. (Keller, 2011) However, it is impossible to escape the numerous
possible ways her mental health may have affected her working. Some people suggest that
maybe her work was a cry for help that was not received until after her death.
In fig. 5 we see Woodman with a bee or wasp at her throat, a dangerous
predicament that could easily end badly. Images like this portray a side of Woodman that
makes it seem like she wants to be hurt. She has very little concern over the fact that
something potentially dangerous is happening, her arms are down at her sides and across
her body but not at all in a defensive way. She is not making an effort to self preserve. She
is happily in the face of danger and unconcerned about it.
In fig. 4 she is covering herself with wallpaper. She is stood against the wall and the
wallpaper is being held over her head, breasts and lower half. This maybe makes a
comment about wider society as well as herself. Wanting to blend in seems to be the
obvious and apparent theme of the image in the dilapidated house.
A particularly haunting image is fig. 8 where we see Woodman sat nude with her
hair covering her face, her legs spread apart and a mirror strategically placed over her
genitals. Woodman has never been afraid of using her face in imagery, so it speaks that she
is choosing to hide it within this image. In the reflection on the mirror we can see a nude
body from the bottom of the breast downwards. This is a technique Woodman often used
in her work. This image appears that as if she was ashamed of her own nudity and was
attempting to conceal it, while also actively looking at others in a voyeuristic sense. Why
was her nudity unacceptable but others are allowed this? Is this a comment on how she felt
about her own work? The entire concept of the mirror is something that Surrealism has
concentrated on, with doubling being tied to our fear of mirrors. Freud stated that the
double is a narcissistic projection. This is something that Rus claims Woodman used to
overcome the ‘limitations of her female human frame’ (Rus, 2014, p.9), by using herself in
her images she did not attempt to portray herself, but rather a symbolic subject.

Alicia Savage works solely in self portraiture, from 2012 onwards she has had a
visible online presence and numerous gallery exhibitions. The creation of her work is set in a

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much better time for women, both in art and general society. Although the images are of
herself, she makes a point of concealing her identity throughout. Anonymity is important
within her work. She states ‘with my face hidden the girl becomes unidentifiable – allowing
others, including myself, to interpret the images, as they will; incorporating their own
journeys and experiences’ (Savage, 2013).
Savage uses self-portraiture as a key element in her work and signature style. She
claims that her style is an expression of who she is. For Savage using self-portraiture is
essential in creating an image, her work is self-involved in this sense.
Another element that is common in all of Savages images is the lack of
identification, which allows others to project into the images. They could be ‘anyone’. This
is achieved usually by the face being out of shot due to looking elsewhere or simply
concealed - behind hair, dresses or lamp shades. Again, this is all down to the artist’s
choice, an informed decision that she is making to create the anonymity of the
representation. Savage also works with personal concepts that draws from her
surroundings, often traveling to gather inspiration.
A point of difference between Savage and the other artists mentioned in this essay
is that all of her images are devised to work independently. In Woodman’s and Miller’s
work, there are running themes and styles. Their images are also unified by their format
and the fact that they are solely black and white. Savage’s images, on the other hand, vary
so much in format—from square to portrait (both analogue and digital)—and she creates
images that differ so much from each other they are comparable to individual stories.
In a lot of scenes, for example fig. 9, Savage appears as a very feminine figure. In
many of her images she is wearing dresses or skirts, symbols of femininity. She appears
helpless, looking out of a window in a scene that is blank apart from the clouds within the
room. These are created through digital manipulation.
In fig. 10, Savage is almost hiding behind a blue dress. The dress conceals most of
her body, leaving just her arms and legs exposed. The blue of the dress has an interesting
connotation in this imagery. Savage has a running theme of feminine touches throughout
her work, this blue dress is almost counter productive to this as blue has obvious
connotations relative to masculine qualities. The fact that she is obscuring herself with this
can be contrived as her hiding behind masculinity. Which is again juxtaposed against the
obvious feminine connotations of the washing line and housework being primarily a

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woman’s job. Savage’s use of gender identity in her work leans towards conforming, but
this particular image works against this.

REPRESENTATING THE FEMALE BODY

Nudity is an important concept in both photography and art, with women being
both the subject and the artist. Nudes were initially created for men to enjoy the female
form, or adversely, appreciate it. (Rus, 2014)
Surrealism as a movement generally was not very appreciative of women’s self
reliance. Women were often viewed as muses, and the women that worked alongside the
men of surrealism rarely broke out of the ‘assistant’ role.
Le Violon d’Ingres (1924) is a perfect example of this abuse of assistance. The photo
features Kiki Monpartese, a long time muse of Man Ray, whose misogyny was evident
throughout his relations with women in the movement. Starting from the title, ‘Le Violon
d’Ingres’ is an ‘idiom that means “hobby”’ according to the Getty Museum. (Le Violon

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d'Ingres (Ingres's Violin), 2014). Titling an image of a nude woman as hobby really cannot be
seen as anything but depreciative. He is essentially labelling her as something that he uses
to fill up his time. Secondly, the symbolism of the f-holes. These were painted onto the
original image which was then re-photographed. This turns her, a living being, in an
inanimate object, removing her of feelings, free will and thought. Le Violon D’Ingres is a
perfect example of how male artists in Surrealist movement portrayed women as passive.
Miller’s nudes, both of herself and others display a confidence over the body, a
command of women over themselves. In fig. 2 we see a model wearing a sabre guard,
which is a piece of equipment used in fencing. This is symbolic of protection, but the
juxtaposition of her exposed breasts is quite conflicting. She is wearing this item that is
essentially armour, but she is happy to leave her breasts on display, what does this say
about her as a person? What does this say about her as a woman? Is this a lack of value of
what makes her a woman or is this a proud declaration of womanhood? Stent argues that
‘women surrealists use the naked body as an artistic subject, they were able to turn its
original notion of sexual degradation into one that flaunted and flattered their femininity’
(Stent, 2012, p26). Miller embodied this, working in a time where the women of Surrealism
were not appreciated in the same fashion as men. Her work wanted to explore the same
concepts, but was drowned in a sea of male work that was over represented in the market
and gained more critical reception than any female work.
In Miller’s Self Portrait with Headband (fig. 1) we see an image that looks like it could
have featured in Vogue at the time of its taking. Miller is sat, clothed, facing away from the
camera and out of the frame on a small armchair. This image seems reminiscent of
headshots for aspiring actresses or models, mainly due to the pose and clothing. We often
see images of this style, but this image was created within the context of the Surrealist
movement. In 1932, Miller was still working with Surrealism, her career as a model was
effectively ended a few years before due to a modelling scandal (Finley, 1999). Featuring
herself was a sure fire way to ensure that the image was not in the Vogue context. The
image seems to be a flash back to what she was, but with the new context creates an image
that is supposed to be empowering.
Fig. 3 shows us a self portrait of Miller taken in 1930. The portrait features a
confident pose, with Miller looking over to the side out of the frame. She is only partially
nude, covered from the waist down by chiffon looking fabric. This image poses a particular

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question. What is the difference between this image when taken by a man and by a
woman? If this was photographed by a male photographer, it can be argued that the male
wanted her to pose in a certain way and that he has made the decision for her to be nude.
Whereas, as Miller herself was in charge of this image, we know that she has made the
decision to appear nude and we see her pose as something that represents power and
decisiveness rather than just obeying orders. Portrayal is not just about the image itself but
the decisions behind the image, and sometimes the gender of the person making the
decisions can affect how the image is perceived by others.
Francesca Woodman’s nudity is both a critique and an acceptance of the Surrealist
schemas. Germaine Greer refers to the woman of Surrealism as ‘stereotypical’, ‘sensual,
powerful… huge hair, virginal breasts, tiny waist.’ (Greer, 2007). Woodman fits quite neatly
into this stereotype. She often exposed her body in her images, but in majority of her
images where she is nude she concealed her face or used slow shutter speeds that create a
motion blur that makes her unrecognisable. Woodman was using her nudity both to convey
her acceptance and rejection of these ideals. A friend and journalist, Betsy Berne,
commented: ‘We used to make fun of the feminists, but we were feminists ourselves’
(Cooke, 2014)
Women began to take control over the representation of their gender. Feminism
and Surrealism are intrinsically linked in the word of Woodman. At the time of working
second-wave feminism was focusing on wider issues for women, such as sexuality, the
place in the family, inequality at work and reproduction. This puts her work into context, it
could possibly have an aspect of social commentary. Nudity is seen now as empowering by
some and many are fighting for the equality of perception of men’s and women’s nudity
(the #freethenipple campaign is a high profile example of this). Woodman was not using
her body as an allusion to the Surrealism of the past, but to socially construct the
empowerment of the female form that came in the future. Her use of the body makes
statements for many about objectification and the femme-enfant that were maybe not
intentional, but in the context of the oppression felt by women in the 1970’s were alluded to
by critics, friends and the general audience of the work.
In images like that in fig. 6, Woodman comes across as passive, simply there for
male enjoyment. She is not holding herself in a confident or empowered way, she is laying
down and displaying her body. The female form is often used in Woodman’s photography.

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From herself to other women, she used women in positions of weakness rather than power.
A lot of her images could be conceived as appreciations of the female form, or adversely as
a portrayal of women as weak and unappreciated. These differing connotations are
something that all female artists who work with the nude form have to consider.
Woodman also used religious iconography. The image in fig. 7 is reminiscent of
crucifixion in the pose that she has adopted. The image is framed in her usual square format
and in black and white. Her arms spread, head to to the side and legs together create this
reference to this specific method of execution. This is not the first time that crucifixion has
appeared in the Surrealist movement. Salvador Dali himself painted Crucifixion (Corpus
Hypercubus) in 1954. Religious iconography of the crucifixion is here being appropriated in
modern art and her situation. Woodman used the wooden doorframe rather than a cross,
maybe to turn away from the simple and obvious connotations of the cross. But this could
also be symbolic. Doorways are passages that lead to and from rooms, crucifixion is an end
to your journey, meaning no more passages to travel through. Now although it may not be
relevant to Woodman that it is a woman in the image, it is evidently obvious to everyone
else. This raises thoughts around women in religion. Although there are references to
women being crucified, there are no specific examples in biblical writings. This leads to
maybe a more modern view of the symbolic woman being crucified in a modern society.
The image dates 1977-1978 and there is no irony lost on the fact that the image in question
was taken in Rome. In 1977, Alice Paul, the famous women’s activist died. The 1970s were a
time of transformation in how women were treated, but still far from the levels of equality
we see today. Woodman’s image may be a protest of how women were being treated by
society.

Savage’s work features women extensively. Often these women are wearing
dresses or skirts that accentuate the feminine figure. Although there is no nudity or only
implied nudity in Savage’s work, it still makes social comment on female body. Fig. 10
especially seems to imply nudity.
She often poses in ways that flatter her body. Fig. 12 was created by throwing fabric
across the body and using a single strobe light to photograph in the studio. The fabric
creates shapes that emphasise her body, elongate her legs and sexualise her figure. Red
fabric creates a mood of passion and desire that also brings more to the image. Savage

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uses femininity to create a intrigue in the image, toying with the idea of the feminine form.
In the image Fig. 11, the dress is particularly well fitting, and flattering to the female form,
these are likely decisions that she is making consciously as a way to appeal to her audience.
The image in Fig. 11 entitled Lamp Girl depicts Savage holding out an apple with a
lamp concealing her face. In a similar fashion to Le Violon d’Ingres, this portrays her as an
object rather than a subject. She is reduced from her identity as a person to an inanimate
item that has been depersonified. Although anonymity is a point within her work, in this
piece her strive for ambiguity has created a relevant suggestion of objectification. On the
other hand, the connotation of the lamp is also interesting. Within a lamp is a light bulb,
this would imply ideas and creativity. The light radiating from this area also lights her up in
a way that suggests something ethereal.
Across the decades, surrealistic imagery, perhaps with the exception of Andre
Kertesz’s Distortion series (Early 1930s), seems to lack diversity in the body shapes shown of
and by women. Of all of the women artists in this essay, none shows a particular variety of
size. They are all slim, none bordering on overweight. The artists span over a great period
of time, and yet still no diversification is shown. What statement is this making about what
is acceptable for a woman to appear like? This is obviously not representative of all
women’s surrealist photography, but even with the inclusion of other notable examples,
such as Claude Cahun, Anna Gaskell and Cindy Sherman, this seems to be a recurring
theme. The body is still a vehicle of oppression; women are constantly being shown that
this is the acceptable way to look.

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CONCLUSION

In summary, women have been both empowered and objectified in surrealist

practices, being subjects and objects, photographers and assistants. The different issues
and gender politics women have faced over the years are present in the work that they
create and are mirrored in the lives of the women themselves. Views around female nudity
still appear polarised with those who feel empowered by showcasing the female body and
those who feel that it equally oppresses women to display themselves. Miller is a prime
example of how both sides of the argument may work; she was empowered in her images
and objectified by Man Ray.

Miller, Woodman and Savage have all created surreal works adopting different
methods and visual strategies that reflect the differing ways these artists interpreted the
principles of surrealism. The artists examined in this essay have been influenced by
different social and cultural factors as well as technology, influences that are distinct in
their images and their meaning. Miller was strongly influenced by the Surrealists in the
1920s and the community surrounding the movement. Second-wave feminism provided a
significant ideological context for Woodman’s surrealist takes on the self. Finally, Savage’s
work was influenced by a combination of forth-wave feminism in the post feminist era,
where women can freely call out those who they feel are oppressing them and the freedom
of femininity, where women are allowed to be empowered by, rather than criticised for
their choices.

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IMAGE BIBLIOGRAPHY
The portrayal of self and the
Lee Miller representation of the female body in art
began to offer new empowered positions
Fig. 1 Self Portrait with Headband (1932) for artists in contemporary art and culture.
As women become more powerful, they achieve the
right to celebrate their bodies, sexuality and selves in
the ways that they see fit. Surrealism continues to
allow the creative freedom to explore this power.

URL: https://s-media-cache-
ak0.pinimg.com/736x/d6/0f/a0/d60fa0d60e8e5d64f0925fc8e90
214f7.jpg

URL: http://www.leemiller.co.uk/media/The-wire-mesh-sabre-guard-
is-a-device-intended-to-protect-swordsmen-but-here-it-contrasts-
severely-with-the-soft-
vulner/J6Mbtj6Kr0QdSVv0FwTN2A..a?ts=NZFE3bn7ER5SlmMHA6Svc
Q..a

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 Fig. 3 Self Portrait (1930)

URL:
http://www.leemiller.co.uk/media/O0pnmF2p8fxydgsDVx4XBw
..a?ts=-UjOY6bSkRiKFWDjV-NJTQ..a

Fig. 2 Nude Wearing Sabre Guard (1930)

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Francesca Woodman
Fig. 4 Space2 (1976)

URL: http://www.americansuburbx.com/wp-
content/uploads/2015/06/Space2_Woodman-Custom.jpg

URL:
http://www.emptykingdom.com/featured/francesca-
woodman/

Fig. 6 Untitled, New York (1979-1980)

URL: https://s-media-cache-
ak0.pinimg.com/236x/a9/a9/7c/a9a97cbbd77aca
026abea443ea224b82.jpg

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Fig. 7 Untitled, Rome (1977-1978)

URL:
https://dd978y4vwod92.cloudfront.net/uploads/ph
otos/images/1167/ee1fae868b01a853808070120fa8
6946-large.jpg?1416423016

Fig. 5 Untitled, New York (1979-1980)

Fig. 8 Untitled, Providence (1976)

URL: http://www.artnet.com/artists/francesca-
woodman/self-portrait-providence-rhode-island-1976-
p075-a-opJikakzql4MY0pNdn2iww2

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Alicia Savage
Fig. 9 Clouds of Passion (2012)

URL:
https://www.lensculture.com/projects/8223-destinations

Fig. 10 Blue Façade (2012)

URL:
https://www.lensculture.com/projects/8223-destinations

Fig. 11 Lamp Girl (2012)

URL:
https://www.lensculture.com/projects/8223-destinations

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Fig. 12 Grounded I (2012)
URL:
https://www.lensculture.com/projects/8223-destinations

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BIBLIOGRAPHY

Burke, C. (2006) ‘Shutters and Shudders’ The New Republic (27/2/2006) Available online at
http://www.tonibentley.com/pdfarticles/newrepublic/NewRepublicLeeMiller_tonibentley.p
df [Accessed 21/11/2015]

Chadwick, W. (1998) ‘An Infinite Play of Empty Mirrors: Women, Surrealism, and Self-
Representation’ in Chadwick, W. Mirror Images: Women, Surrealism, and Self-
Representation Cambridge: MIT Press

Cooke, R. (2014) ‘Searching for the real Francesca Woodman’ The Guardian [online]
Available at http://www.theguardian.com/artanddesign/2014/aug/31/searching-for-the-
real-francesca-woodman [Accessed 11/10/2015]

DuBois, S. (2013) 5 Professions Ruled By Women Available at

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Finley, H. (1999) Photographer Lee Miller and Kotex Menstrual Pads Available at
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