Cindy Sherman, “Untitled Film Still #21”, 1978.
Cindy Sherman, “Untitled Film Still #3”, 1977.
Cindy Sherman, “Untitled Film Still #7”, 1978.
Cindy Sherman, “Untitled #229”, 1994.
Cindy Sherman, “Untitled #1531”, 1985.
Cindy Sherman, “Untitled #477”, 2008.
Cindy Sherman, “Untitled #469”, 2008.
Yasumasa Morimura
Frida Kahlo
Janine Antoni , “Ingrown”, 1998
Janine Antoni, “Mom and Dad”, 1994
John Coplans, “ Interlocking Fingers No. 6” , 1999
John Coplans, “ Self-portrait (torso)”,  1984
John Coplans, “ Frieze No. 4”
Annie Noggle, “Self Image”, 1981 “ Self-Image in Cochiti Lake”, 1978
Anne Noggle , “Reminiscence: Portrait with my Sister,”  1980
Chuck Close
Robert Mappllethorpe
Thomas Struth
Lorna Simpson
Sam Taylor-Wood, “Suspended” Series
Sam Taylor-Wood, “Escape Artist” Series, 2008
Sam Taylor-Wood, “Br am Stoker ’s  Chair ”  Series
Sam Taylor-Wood, “That White Rush”
Tina Barney
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Studio Portraiture Conceptual Project 1 "Self-Portraiture" PowerPoint


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  • Going to look at 2 different kinds of self-portraiture- portraiture about the person being photographed and portraiture made in response to an issue or concern
  • Sherman makes photos of herself that are not about her specifically but about the male gaze and how women are depicted in photo/film traditionally American artist, photographer and filmmaker/ received her MFA in Photography from the State University of NY in Buffalo in 1976. known for B/W Untitled Film Stills , 70s and early 80s.
  • In carefully designed settings, Sherman placed herself, using costumes, wigs, and makeup, in various scenarios suggestive of B-movies from the 1950s.
  • In denying her own identity she also captures something of the times.
  • Her work is suggestive of feminist theories of representation and body politics which are laced with irony
  • Sherman's later photographic series, generally in large, color formats, included themes of pornography, Old Masters, and fairy-tales.
  • She dresses up in extravagant, modern, historical or simple wardrobes and costumes.  
  • Her work investigates how women in particular, create their own self-image
  • Her newest work explores the absurdity of excess and pokes fun at the elitist groups that support her work as high art. It was exhibited at the New York gallery, Metro Pictures.
  • She again disguises herself, as women of California, which are types; The Personal Trainer, The Ex-Realtor, The Divorcee, etc. Sherman further manipulates the notion of portraiture through the use of conventional signs including setting the figure against a neutral background.
  • Yasumasa Morimura Modern artist from Japan/known for taking well known historical art and inserting his own face in the artwork, especially in artwork with women.
  • Works with appropriation art- it’s when one takes old art or creation and uses it to make new pieces of artwork.
  • He also inserts various body limbs and different styles into new pieces of artwork.
  • Takes many historically significant pieces of artwork and puts his face in.
  • Number of photographs of Marilyn Monroe that he has inserted his face in place of Marilyn’s.
  • Created “ Inner Dialogue with Frida Kahlo (Skull Ring) ” and other photographs where he took famous Frida Kahlo pieces and inserted his own face in them while attempting to keep their basic properties the same.
  • The general idea that Morimura is trying to get across is both the questioning of the idea of beauty as well as exploring various gender and ethnic relationships.
  • He embodies and displaces societal currents in Japanese culture, such as Western assimilation, capitalism, and gender values. 
  • He follows the spirit of wabi-sabi by drawing beauty from the rifts of Japan's connection with the global community and its connection with its own past. 
  • Says; "Taking photographs is generally an act of 'looking at the object, whereas 'being seen' or 'showing' is what is most interesting to one who does a self-portraits ”
  • He’s the androgynous outsider peering at the audience or the crowd, with the absent identity of a performer
  • A contemporary artist whose work focuses mostly on process. She often uses her whole body or different parts of it, such as her mouth, hair and eyelashes as tools and with them performs everyday activities to create her artwork .
  • Creates works that draw upon the intimate rituals of everyday life, such as eating, bathing, sleeping, and washing. Her art operates in the space between object and performance.
  • Used her parents as sculptural material in this photographic triptych Working with prosthetic make-up, wigs, and clothing, she refashioned her father to look like her mother and vice versa. She photographed them together—mother/mother, father/father, and mother/father—in the poses of classical portraiture. Says; “It’s really another self-portrait, because that is what I am, a biological composite of the two. What became fascinating during the process was the impossibility of turning my parents into each other. What I was arriving at was a half-mom, half-dad creature, but to create this composite I had to reverse our roles in the sense that my parents made me, and now I was remaking them.”
  • John Coplans-began photographing his aging body after he turned 60, he embarked on a documentation of age that is alternately humorous, reflective, and disquieting in the closeness of its observation
  • Unashamed depictions, dealing with age-ism and prejudice. Seeing himself as an actor, Coplans examines various body parts closely, often quoting art historical postures with his sagging figure.
  • Self-Portrait, Three Times is exemplary of his scrutinization of idealized expectations of the body and the self.
  • Annie Noggle-focus on aspects of life that many would like to forget, particularly the effects of aging on herself and those around her. her work consistently challenges the stereotypes and standard mythologies of women.
  • speaks directly to issues of self, identity, and the female body. uses images of the self to look unabashedly at aging
  • most influential figurative painters of our time, Focuses exclusively on portraiture
  • Since the 1960s, does realistic painting to portray a wide range of subjects, including friends, family, fellow artists, and himself.
  • Known for his Homoerotic and controversial portraits
  • Stages traditional portraits with a large format camera, using only natural light He’s interested in the energetic moment of the family group asks people to look into the camera.
  • He chooses the location, and then people position themselves on the stage that he’s selected - which most of the time is where they live. asks people to sit however they want, or stand.
  • inevitably people sit or position themselves according to the dynamic of the moment and whoever they want to be close to The images represent the dynamic of the moment in the group.
  • Within that setting there are different freedoms – they can wear what they want, position themselves next to who they want – they can smile or not smile. They can also object to publication and say we don’t like it – don’t use it.
  • fascinated by family construction and by the constitution of identity. three constituting elements of life are the family, the cultural environment in which one is born, and the historical time.
  • Incorporates feminism and her own identity into her work.
  • Play on language and image about racism and female black identity
  • Text in opposition to the images which are more passive and suggestive
  • explores notions of weight and gravity
  • she places herself in situations where her interior and external sense of self is in conflict.
  • examines the split between being and appearance the line between the interior and external sense of self is in conflict
  • Born in London in 1967, Taylor-Wood studied at Goldsmiths College and went on to become a film-maker and photographer
  • ongoing documentation of the lifestyles and relationships of her family and close friends, many of whom belong to the social elite of New York and New England.
  • candid, part tableau; her subject matter deals with issues of privilege and the interaction of family members.
  • striving for the candidness of a snapshot, Barney became one of the first artists working in the 1980s to explore a di rectorial mode of making pictures.
  • Her decision to direct her subjects stems in part from her choice to use the large format camera and its ability to deliver a more detailed rendering of the trappings of wealth so integral to depicting her subjects and their environment.
  • Her direction ranges from posing her subjects to simply asking them to repeat a spontaneous gesture, and her style of working often includes careful lighting and the help of an assistant.
  • The effect is an unexpectedly intimate access to her subjects.
  • Studio Portraiture Conceptual Project 1 "Self-Portraiture" PowerPoint

    1. 1. Self-Portraiture
    2. 2. Cindy Sherman, “Untitled Film Still #21”, 1978.
    3. 3. Cindy Sherman, “Untitled Film Still #3”, 1977.
    4. 4. Cindy Sherman, “Untitled Film Still #7”, 1978.
    5. 6. Cindy Sherman, “Untitled #229”, 1994.
    6. 8. Cindy Sherman, “Untitled #1531”, 1985.
    7. 13. Cindy Sherman, “Untitled #477”, 2008.
    8. 14. Cindy Sherman, “Untitled #469”, 2008.
    9. 15. Yasumasa Morimura
    10. 24. Frida Kahlo
    11. 32. Janine Antoni , “Ingrown”, 1998
    12. 33. Janine Antoni, “Mom and Dad”, 1994
    13. 36. John Coplans, “ Interlocking Fingers No. 6” , 1999
    14. 37. John Coplans, “ Self-portrait (torso)”, 1984
    15. 38. John Coplans, “ Frieze No. 4”
    16. 41. Annie Noggle, “Self Image”, 1981 “ Self-Image in Cochiti Lake”, 1978
    17. 42. Anne Noggle , “Reminiscence: Portrait with my Sister,” 1980
    18. 45. Chuck Close
    19. 47. Robert Mappllethorpe
    20. 49. Thomas Struth
    21. 55. Lorna Simpson
    22. 60. Sam Taylor-Wood, “Suspended” Series
    23. 62. Sam Taylor-Wood, “Escape Artist” Series, 2008
    24. 64. Sam Taylor-Wood, “Br am Stoker ’s Chair ” Series
    25. 65. Sam Taylor-Wood, “That White Rush”
    26. 66. Tina Barney