Tag: Selfies

LACMA Photography Curator to speak at the Museum of Fine Art St. Petersburg

Conversation with a Curator: Really! This is (So) Not a Selfie
Thursday, October 25th, 7-8 pm at the Museum of Fine Arts St. Petersburg.
FREE with Museum admission, $10 on Thursdays after 5 pm.

The current exhibition This is Not a Selfie is drawn from a single collection, the Audrey and Sydney Irmas Collection at the Los Angeles County Museum of Art (LACMA). Eve Schillo, Assistant Curator of the Wallis Annenberg Photography Department at LACMA, will be at the Museum on Thursday, October 25th for an informal 7 pm gallery talk to discuss the history of self-portraiture photography and its role in today’s image-driven, media-rich environment. #notaselfieMFA Image: Anne Collier, Mirror Ball [detail], 2004, Los Angeles County Museum of Art, © Anne Collier, courtesy of the artist and Marc Foxx Gallery, Los Angeles

We can selfie if we want to

Snapchat photo by Sabrina Hughes, the author of the upcoming post titled: My Camera, My Sel(fie) using Alfred Stieglitz, Self-Portrait, Cortina, 1890, gelatin silver print, Los Angeles County Museum of Art, The Audrey and Sydney Irmas Collection.

The upcoming essay by St. Petersburg photo historian Sabrina Hughes, My Camera My Self(ie), which will post on Bay Art Files next week, examines the complex relationship between photographic self-portraiture and the selfie. That such a relationship might exist and be scrutinized is explicitly suggested by the title of the current traveling exhibition at the MFA, St Petersburg, This Is Not a Selfie: Photographic Self- Portraits from the Audrey and Sydney Irmas Collection. The title asserts that a clear distinction can be drawn between the two.

The Irmas Collection, on display at the MFA through November 25th, is a deep and rich survey of photographic self-portraiture by considerable artists and is, as such, definitely worthy of one’s time and attention and a visit. In conjunction with the exhibition there are also selfie stations situated in the galleries where one can photograph oneself with various backdrops; projected, optical and otherwise. To take the exhibition’s title at face value, as it were, we are being asked to make a comparison between the art on the walls and the selfie one might take whilst at the exhibition.

Undoubtedly, this is a complex and involved question. The fact that a comparison is being asked to be drawn, in itself, entertains the notion that there is a spectrum on which both can be assessed. There are commonalities between museum-quality photographic self-portraiture and the selfie, and that these two distinct practices should be fairly judged and reviewed one and together, at the same time, and in the same place is surely a provocative question.

It is one that Hughes insightfully and deftly examines in her Essay, My Camera, My Self(ie).  Alone, the artists and their works on display definitely deserve one’s time and attention. The issues raised in the essay, it is hoped, will add a further perspective that provokes thought and encourages discourse. And indeed, in addition, add to one’s overall enjoyment of this exhibition. That is our intention.