• Philip AKKERMAN

• details: No. 1, 2006, tempera and oil paint on wooden panel, 40 x 34 cm
• source: https://www.derekeller.com/artists/philip-akkerman?view=slider#3
• https://philipakkerman.com/

"For the first five years, he painted his self-portraits within the classic triangle of painter-mirror-easel. After that, he no longer needed the mirror. 'I knew that I didn’t so much want to paint a self-portrait as I wanted to make a beautiful painting. So it’s not about painting yourself exactly. Sometimes I still use the mirror, just to refresh my memory, and only as a drawn study for the painting.' 'In some way or another, we are all occupied with the mystery of existence. But where is that more potently present than in one's own physicality? There, you are both the viewer and the viewed.'"

• Sofonisba ANGUISSOLA

• details: 'Self-Portrait at the Easel', 1556, oil on canvas, 66 x 57 cm (Łańcut Castle, Poland)
• source: Dr. Lauren Kilroy-Ewbank, "Sofonisba Anguissola," in Smarthistory, May 3, 2016, accessed October 28, 2024, https://smarthistory.org/sofonisba-anguissola/.
• Sir Anthony Van Dyck, Sofonisba Anguissola, 1624, oil on panel, 41.6 x 33.7 cm (Knole, Kent)

compare with:  Sir Anthony Van DYCK, Sofonisba Anguissola, 1624, oil on panel, 41.6 x 33.7 cm (Knole, Kent)

• Francis BACON

• details: 1973
• source: read more at www.artquotes.net

Irish born English artist.
Francis Bacon was no easier on himself as a subject, as he was with others. He depicted himself just as he did with his sitters. In this self portrait the artist be suffering from a hangover. He could also be referring to time and death. Is the artist simply suffering from a headache or is his hidden wrist bleeding into the sink?

"My painting is a representation of life, my own life above all, which has been very difficult. So perhaps my painting is very violent, but this is natural to me."
^{Francis Bacon Quote}

LINKS:
- Image Gallery
- Detroit Institute of Arts
- WebMuseum

• BANKSY

• details: Self-Portrait, 2000, Oil and pray-paint on canvas laid on board, 122×122 cm (48×48 inches), Unique Stencil-signed “BANKSY”, lower right, Bonhams London: 25 April 2007, GBP 198,000 / USD 259,898
• source: banksyexplained.com

"Banksy‘s name and identity remain unconfirmed as of today and the subject of speculation. In a 2003 interview with The Guardian, Banksy is described as 'white, 28, scruffy casual—jeans, T-shirt, a silver tooth, silver chain and silver earring' ”.
"Obviously anonymity is vital to Banksy because graffiti remains mostly illegal. However, with over 10 million followers on Instagram, he is probably one of the most well-known visual artists in the world.”
^{https://banksyexplained.com/11-extra-ordinary-facts-about-banksy/}

LINKS:
- www.instagram.com/banksy
- www.banksy.blog/
- banksyunofficial.com/

• François-Emile BARRAUD

• details: 1931
• François Barraud painted mainly still lifes, female nudes and portraits, including several double portraits of himself and his wife, Marie.
• Credit line: Передано в дар Мари Бюиссон-Барро в 1977 году

When I look at the available reproductions on the internet, they all have the same glittering of the oilpaint in the top left. So, presumably, they all come from the same source. The format in the picture above looks exaggerated, elongated. May I propose a corrected version as in the second picture? contact me

link: https://garystockbridge617.getarchive.net/amp/topics/20th+century+three+quarter+view+portrait+paintings+of+men+facing+right+and+looking+at+viewer

• Aubrey Vincent BEARDSLEY

• details: c. 1892 Pen and black ink, with black wash
• source: https://historia-arte.com/artistas/aubrey-beardsley
• Link: https://www.britishmuseum.org/collection/search?keyword=PDB15703

Aubrey Vincent Beardsley was one of the most interesting artists of the Victorian era in the United Kingdom. The perfect son of the fin-de-siècle. He died at the tender age of 25, but he had time to shock, fascinate and influence the artists of the time. His modernist style, mixed with his critical and incisive humour, gave rise to a satirical, aesthetic, modern, hypnotic... wonderful artistic work.
Beardsley stood out very early as a "child prodigy" in music and later in other creative fields. He looked like he was going to be an architect, but the plastic arts entered his life and everything went down the drain. He entered the Westminster School of Art and that's where his adventure began.
His illustrations began to gain fame for their innovative style. Books and magazines wanted to be illustrated with his art. Of course, he also illustrated the work of his friend Oscar Wilde.
Beardsley had a modernist style, based on nature, with organic forms and great decorativeness. With all due respect, he was a younger and more radical Alfons Mucha. He used a lot of ink (black and white) and his work was greatly influenced by Japanese engraving.
He touched on a variety of themes: religious, mythological, historical, caricature… And in all of them there is a charge of eroticism (let us highlight his scandalous illustrations for Lysistrata and Salome).
In his life, he was a dandy. A decadent like Wilde, an eccentric, a Tristram Shandy. “I only have one goal: the grotesque. If I am not grotesque I am nothing,” he once said. Tuberculosis, a most romantic disease, killed him when he was only 25 years old.
^{(CC) Miguel Calvo Santos, 08-31-2017}

• Ernest BIELER

• details: 1911
• web: www.ernest-bieler.ch/

"Born in 1863 in Rolle, Ernest Biéler left for Paris at the age of seventeen to study in the city’s art schools. He works under the influence of impressionism at first and paints an initial masterpiece that causes quite a stir at the 1889 World’s Fair (Pendant la messe à Saint-Germain en Savièse – During the Mass in Saint-Gemain in Savièse, 1886), the picture’s subject being inspired by a stay in the Canton of Valais. Illustrating the novels of Emile Zola, Alphonse Daudet and Victor Hugo – over and above the few portrait commissions that come in – makes it possible for him to live in the French capital. "
"A painter and illustrator, he also makes a name for himself working in stained glass and mosaic. In 1917 he sets up shop in a vast studio in Montellier near Rivaz and begins producing the great decorative works that will ensure him lasting fame. He creates stained-glass windows for churches (Saint Francis, Lausanne; Saint Martin, Vevey; Saint Germain, Savièse), mounted-canvas ceilings (Victoria Hall, Geneva; Theatre of Bern) and frescoes (Jenisch Museum, Vevey; the main hall of the Greater Council, Sion). "
https://www.collection.pictet/artist/bieler

Any idea how you would paint a ceiling in a church or theatre?
^{https://www.througheternity.com/en/blog/art/5-amazing-ceiling-paintings-in-rome.html accessed 06-11-2024}

• Peter BLAKE

• details: 1961, Oil on canvas, Pop Art, 174 × 122 cm, Private Collection
• source: wikiart © fair use
• Link: https://en.wikipedia.org/wiki/Peter_Blake_(artist)

(Sir) Peter Blake has a fascination with collecting and incorporating found objects into his artwork. He often includes vintage toys, badges, and other memorabilia in his collages and assemblages, creating richly layered compositions that evoke nostalgia and whimsy.
text from: www.singulart.com

teach tip: explore how to use objects on pictures or paintings

• Loréne BOURGUIGNON

• details (1): 'Zelfportret (Self-portrait)', 1994 43 × 41 cm oil on canvas (private collection)
• details (2): 'Androgyn (7)', 2002 43 × 41 cm oil on canvas (private collection):
• http://www.lorenebourguignon.nl/fine-art/

"The Polaroids are usually taken at random: coincidence plays a significant role. This entails that there is considerable distance between myself and the portrait. My aim in making self portraits is not to document the overly personal. At first, the portrait is virtually “empty”, the distance between it and myself is as large as it can be. By painting in thin layers on top of one another, such distance is maintained, while the portrait at the same time nonetheless acquires its own appearance. I recreate my own face, as it were."
http://www.lorenebourguignon.nl/fine-art/text-english/

"..been implicating portraits of my father in my self portraits. Self portraits generally do not allow for the emergence of new images. And yet, in drawing on portraits of my father in addition to my own, I found myself confronted with new, manipulated, almost androgynous faces.."

• Theodor de BRY (1528 - 1598)

• details _a: 1597, Engraving, 185 x 160 mm, British Museum, London
• source: _b: https://furnaceandfugue.org/essays/gaudio/
• LINK: 11-06-de Bry
• water-artproject.blogspot.com/2021/01/brey.html

"The artist is dressed in work costume, with a flange goffered on a collar of fur, one hand holding a compass while the other rests on a human skull, both signs of erudition at that time. The Latin words registered on the table are: 'Domine, doce me ita reliquos vitae meae dies transigere ut in vera pietate vivam et moriar. ('Lord, teach me to pass the remaining days of my life such that I live and die in true piety.') Just below these words is the motto of the de Bry family: 'Nul sans soucy.' ('None without worry.')
^{https://www.wga.hu/html_m/b/bry/1selfpor.html}"

During its busy years in Oppenheim, the de Bry firm was fortunate to add a talented and productive member to the family, Matthëus MERIAN, who in February 1617 married Johann Theodor’s daughter Maria Magdalena de Bry. Merian was a native of Basel who learned the technique of etching during his apprenticeship in Zurich and refined his skills in Strasbourg, Nancy, and Paris before arriving in Oppenheim. Etching requires the artist to draw a design with a pointed stylus, or 'needle', directly on a copper plate that has been covered with an acid-resistant ground. When the plate is then submerged in acid, the exposed lines are etched into the plate so they can hold ink for printing. Etching is the closest of the printmaking processes to pen-and-ink drawing and is carried out much more quickly than engraving, a laborious process in which the artist uses the palm of his hand to push the point of a burin — the tool held in Johann Theodor’s left hand in his self-portrait — into the copperplate. As an etcher, Merian was better suited to meeting heavy demands for illustrations than was his father-in-law, to whom no known etchings have been attributed. Although no artist is named on the title page of Atalanta fugiens or on that of Fludd’s magnum opus, the Utriusque cosmi [. . .] historia (History of the macrocosm and microcosm, 1617–21), we can safely attribute the etched plates in both publications to Merian.
^{text from: www.furnaceandfugue.org}

• Marc CHAGALL

• details: (1887-1985)
• source:
• LINK: 'I and the Village': target="_blank">www.marcchagall.net

Chagall grew up in the Belarusian village of Vitebsk, the eldest son of a Hassidic laborer. While he spent most of his life in France, he never stopped returning to Vitebsk in his mind and in his art. In Self-Portrait with Seven Fingers two landscapes hover above the painter, the modernity of Paris meeting the timelessness of Vitebsk.
In Study for Self Portrait with Seven Fingers, Chagall presents us with the Jewish fascination with numbers. Art historian Sandor Kuthy suggests that the Yiddish folk expression Mit alle zibn finger, used to indicate the entirety of energy used in completion of a task, explains this strange physical anomaly in the painting.
Self-Portrait with Seven Fingers was Chagall's first self-portrait. It was painted in his first Paris studio at La Ruche, Montparnasse where he and 200 fellow artists lived in total squalor. The painting is now shown in the Stedelijk Museum, Amsterdam. (www.jhom.com = defunct)

• Ulpiano CHECA

• details: "COCA MARIANI" Photoengraving on paper. 18.8 x 26 cm. Ulpiano Checa. 1903 Plate included in the eighth volume of the famous 'Album Mariani' by Angela Mariani, (Corsica 1838. Paris 1914).
• source: Ulpiano Checa Museum

This is a self portrait in the sense of what the artist want to say about himself
The use of the word redskin would bring a blush to many faces now but, hey, I grew up with Winnetoe and Old Shatterhand.
Besides that, it is one of my fasfourite artists and I wish all musea were like this one

Angela Mariani became immensely rich with her "medicinal wines": especially with coca wine, which was said to have qualities for stomach and respiratory illnesses, insomnia and melancholy. Angela Mariani was also an art lover and had a great sense of publicity. She thought that she could promote her products by sending a sumptuous gift of bottles to people of great renown, to obtain a handwritten note of thanks in response. This is how the "Mariani Albums" were gradually formed. They include kings, popes, princes, presidents, writers... Names such as Thomas A. Edison, Pétain, Emile Zola or Ulpiano Checa himself alternate. In each case, these albums contain a biographical sketch of the character and an engraving with his portrait, as well as his signature and a few lines of prose, or short poems, sheet music, etc. music, drawings, anagrams, all in the color of the wonderful wine, which received a special blessing from Pope Leo XIII. The Albums were published in Paris by the Libraire Henri Fleuri, between 1894 and 1906, in exquisite editions, coveted by bibliophiles from all over the world.
text is from the Ulpiano Checa Museum

• Chuck CLOSE

• source: https://www.artsy.net/artwork/chuck-close-study-for-self-portrait (Parish art Museum)
• Many of his self portraits are gigantic:1967-1968 Medium: Acrylic on Canvas, Photorealism, Dimensions: 107 1/2 x 83 1/2"

But this is much more than just the story of a local boy who made good. On Dec. 7, 1988, at the age of 49, Close was at the height of his career as a portrait painter when he was stricken with a spinal blood clot that left him a quadriplegic.
https://magazine.washington.edu/feature/chuck-close-overcame-struggles-to-become-a-renowned-artist/

He also suffers from prosopagnosia, or face blindness, where he can't recognize faces.
see also: 02-01-how-well-do-artists-see

The National Gallery of Art in Washington has canceled a Chuck Close exhibition, planned for May, because of accusations of sexual misconduct that have engulfed the artist in controversy.

Chuck Close, Creator Of Gigantic Portraits, Has Died At 81. Artist Chuck Close at a 2019 exhibition of his work in Ravenna, Italy. Chuck Close's face made him famous — his face on canvas, that is. Gigantic, up close and personal, his black and white 1968 Big Self-Portrait leaves nothing to the imagination. 19 Aug 2021

• Lovis CORINTH

  , German,
• details: Germany 1858-1925, :1924 Medium: Gouache, with possible additions in oil, on heavy ivory wove paper, Dimensions: 48.6 × 30.5 cm (19 3/16 × 12 1/16 in.) Credit Line: Clarence Buckingham Collection
• source:

“The times are not the same for us old folk anymore,” reads a 1923 diary entry by Lovis Corinth, who suffered a stroke in 1911 and never quite recovered. “We have lost our way … so sad, so very sad.” The following year, the artist created this tortured self-image; he was sixty-five, with one year left to live. An inveterate self-portraitist, Corinth produced more images of himself than almost any other artist except Rembrandt van Rijn. In this haunting gouache, he gazes at the viewer in anguish. The brooding palette portrays a deeply shadowed face— contorted, haggard, and sunk into hunched shoulders. The pain that both the diary entry and this portrait convey is curiously at odds with Corinth’s professional life, which had, in fact, been successful. Challenging traditional approaches to art, his early figure compositions, with their overt sexuality and theatrical movements, made his reputation. Later he executed intensely colored, windswept landscapes that became his most popular works. But Corinth was a deeply patriotic man, and his personal accomplishments failed to assuage the torment he experienced after Germany’s humiliation in World War I and his despair over the values of the Weimar Republic that followed."
^{https://www.artic.edu/artworks/70202/self-portrait}

• Salvador Dali

• details:
• source:

• Edgar DEGAS

• details:
• source:

• Eugène DELACROIX

• details: 1816
• source: https://mbarouen.fr/en/oeuvres/self-portrait

• Marcel DUCHAMP

• details: 1921
• source:
• Marcel Duchamp with new haircut

Marcel Duchamp created his self-portrait with a star shaved into his hair in 1921 as part of his exploration of identity and his embrace of the Dada movement's principles of absurdity, playfulness, and rebellion against traditional art conventions. The star in his hair was part of a playful and symbolic gesture that aligned with his persona as an avant-garde artist who often challenged societal norms and questioned the role of art in everyday life.
Duchamp was known for his alter egos and his interest in blending identities, such as his famous female persona, Rrose Sélavy.
The star haircut can also be interpreted as a commentary on self-expression and the way individuals shape their public image—an idea central to both Dada and Duchamp's broader artistic philosophy. This bold, performative act was characteristic of his work, which often blurred the lines between art, life, and performance.

“All serious people seem to have a good sense of nonsense, as opposed to earnest people, who don’t know what to make of nonsense. Today, there are too many earnest people in the arts and not enough serious people.”
^{https://98bowery.com/punk-years/punk-art-catalogue-section-one
— British actor George Rose}

• Albrecht DÜRER

• details: 'Portrait of the Artist Holding a Thistle' 1493
• source: Wikimedia Commons
• Original work by: Dürer, Albrecht Original height: 56.00 cm Original width: 44.00 cm Period: Renaissance (période), 15e siècle Dürer, Albrecht - Portrait de l'artiste au chardon © RMN-Grand Palais (musée du Louvre)

Dürer introduced the art of self-portraits in the Western World . He was influenced by the Italian Renaissance and brought down his teachings to Germany and other areas during the Northern Renaissance period.

• Maurits Cornelis (M.C.) ESCHER

• details: lithograph, November 1929

"Escher had kept his beard and moustache carefully trimmed during his long walks through Abruzzo in the spring of 1929. However, in the small mountain village of Castrovalva he was imprisoned because of his unkempt and odd appearance, and was mistakenly believed to be the failed assassin of Mussolini!"

• source: www.escherinhetpaleis.nl/story-of-escher/self-portraits-1917-1950/
• website: mcescher.com
`

His art is enjoyed by millions of people all over the world, as can be seen on the many websites regarding his life and work. He is most famous for his so-called impossible constructions, such as Ascending and Descending, Relativity as well as his Transformation Prints, such as Metamorphosis I, II and III, Sky & Water I or Reptiles.

Stephen HAWKING has come up with a way to describe the universe that suggests it may have the same geometry as mind-boggling images by M. C. ESCHER

• James Montgomery FLAGG

• details: James Montgomery Flagg’s World War I recruiting poster, also used in World War II, for which the caption read, “I Want You.”
• source: https://www.britannica.com/topic/Uncle-Sam

The iconic "I Want You" World War I recruiting poster featuring Uncle Sam was modeled after its creator, James Montgomery Flagg. Flagg used his own face as the basis for Uncle Sam's, mainly for convenience and to save money on hiring a model. He exaggerated certain features, such as adding a long, white goatee and bushy eyebrows, to align with the traditional image of Uncle Sam.
The poster became one of the most famous representations of Uncle Sam and is still recognized today as a symbol of American patriotism.

• Jean FOUQUET

• details: 1450
• source:

• Paul GAUGUIN

• 'Self-Portrait with Halo and Snake'
• details: 1889, oil painting on wood, 79 cm × 51 cm (31.2 in × 20.2 in,
• source: National Gallery of Art, Washington, D.C.

Self-Portrait with Halo and Snake, also known as Self-Portrait, is an 1889 oil-on-wood painting by French artist Paul Gauguin, which represents his late Brittany period in the fishing village of Le Pouldu in northwestern France. No longer comfortable with Pont-Aven, Gauguin moved on to Le Pouldu with his friend and student Meijer de Haan and a small group of artists. He stayed for several months in the autumn of 1889 and the summer of 1890, where the group spent their time decorating the interior of Marie Henry's inn with every major type of art work. Gauguin painted his Self-Portrait in the dining room with its companion piece, Portrait of Jacob Meyer de Haan (1889)

• Théodore GÉRICAULT

• details:
• source:
• Link: https://mydailyartdisplay.uk/2014/09/19/theodore-gericault-and-monomania/

• Alberto GIACOMETTI

• details: Date circa 1954, Pencil and eraser on paper, 19,44 x 12,59 in., Private collection
• source: https://www.fondation-giacometti.fr/en/database/171392/self-portrait

• GILBERT & GEORGE

• details:
• source:

• John HEARTFIELD

• details:
• source:
• More on John HEARTFIELD: 25-10-more-photo-collage-examples

• Tim HAWKINSON

• details: 1960 -
• source:

Balloon Self-Portrait, 2004?, latex sculpture, life size cast from the artist's body, turned inside out, then inflated by an air compressor, Ace Gallery, NYC.

• Caterina van HEMESSEN (1528 – after 1587)

• details: 1548, mixed media: tempera on oak wood (Gefirnißte Tempera), Dimensions: height: 32 cm (12.5 in) width: 25 cm (9.8 in), Collection Kunstmuseum Basel
• source: wikimedia.org

Her father, Jan Sanders van Hemessen was a well-known painter in Antwerp and presumably her teacher. She was a highly successful painter. Her paintings have a quiet dignity to them, the sitters eyes never meet the viewer's. Her pictures also tend to be small with plain dark backgrounds that give no sense of location or extended space.
^{https://www.wga.hu/frames-e.html?/html/h/hemessen/caterina/selfport.html}

• Rosemin HENDRIKS

• details:
• source:
• www.roseminhendriks.nl/

Since 1993, Rosemin Hendriks (born in Velp, 1968) has been creating drawings of herself. What stands out in her work is that she does not copy reality but omits details and suggests much with just a single charcoal or conté stroke. The image is, as it were, stripped of all superfluous elements.
For Rosemin Hendriks, a face -usually her own— serves as the starting point for a piece. She primarily develops this concept in a linear manner using charcoal and conté on large sheets of paper. The large format lends the images a curious tension between intimacy and recognition on the one hand, and distance and alienation on the other.
The artist prefers not to label her works as self-portraits; for her, it is more essential that they are drawings..

• HOFMANN

• details:
• source:

• Frida KAHLO

• details:
• source:

• Paul KLEE

• details:
• source:

• Clemens KRAUSS (1979- )

• details:
• source:
• LINKS:
  - www.hausamwaldsee.de
  - www.galeries.nl
  - www.artfacts.net
  

The works of Clemens Krauss refer to experiences offered and created by the mass media and the ensuing questions of dislocation and mobility – both as cultural and artistic practice – and the individual’s notion of identity. Krauss transfers the situation and appropriation of media perception into a painterly process.
read more at DNA-galerie, Berlin

• KUHN

• details:
• source:

• Jacob LAWRENCE

• details: Self-Portrait, 1977. Gouache and tempera on paper, 23 x 31 in. (58.4 x 78.7 cm). National Academy of Design, New York,
• source: https://whitney.org/www/jacoblawrence/art/self_portrait.html

Jacob Lawrence (1917–2000) was a prominent African American artist known for his vibrant and dynamic paintings that captured the experiences, struggles, and triumphs of Black Americans. He was a leading figure in modern art and a pioneer in chronicling African American history through his work.

• LEMPICKA

• details: Autoportrait (Tamara in a Green Bugatti), self portrait by Tamara de Lempicka
• source: https://www.wikiart.org/en/tamara-de-lempicka/portrait-in-the-green-bugatti-1925
• Link: https://culture.pl/en/work/self-portrait-tamara-in-a-green-bugatti-tamara-lempicka

Autoportrait (Tamara in a Green Bugatti) is a self-portrait by the Polish artist Tamara de Lempicka, which she painted in Paris in 1928. It was commissioned by the German fashion magazine Die Dame for the cover of the magazine, to celebrate the independence of women. It is one of the best-known examples of Art Deco portrait painting.

• Al LISSITSKY

• details:
• source:

• Ivan LORRAINE ALBRIGHT

• details:
• source:

• Henri MATISSE

• details:
• source:

• Piet MONDRIAAN (Mondrian) (1872 - 1944)

• details:
• source: wikipedia.org
• source _b: research.rkd.nl
• source_c: Kunstmuseum, The Hague

The artist made famous by his 'Boogie Woogie'. Your students may not expect Mondrian to be such an excellent and versatile artist

• Edvard MUNCH

• details: Title: Self-Portrait in Hell Creator Lifespan: 1863-12-12/1944-01-23, Creator Nationality: Norwegian, Date Created: 1903, w660 x h820 mm, Rights: © Munch-museet/Munch -Ellingsen Gruppen/Bono
• source: https://upload.wikimedia.org/wikipedia/commons/f/f4/Edvard_Munch_-_Self-Portrait_in_Hell_-_Google_Art_Project.jpg

"His naked body surrounded by flames makes him seem defenseless. The huge shadow behind him seems overwhelming and threatening. Do the shadows symbolize the dark side of humans and the past we carry with us? Munch was 40 years old. In this periode he had been through a breakup, struggled financially and needed a new direction in his artistry. He seems vulnerable. He takes off his mask while keeping us at a distance"
^{© www.munchmuseet.no/en/edvard-munch/who-was-edvard-munch2/}

• Tony OURSLER (1957 - )

• details: MMPI (Self-Portrait in Yellow), 1996, video installation with video projector, VCR, video tape, small cloth figure and metal chair, Milwaukee Art Museum, WI.
• source:

New York video artist Tony Oursler is best known for projecting video images of faces on dolls, mannequins, and disembodied heads, thereby bringing to life these otherwise inanimate objects.
The Minnesota Multiphasic Personality Inventory (MMPI), a diagnostic tool developed in the 1950s as a test for mental health, is based on the discovery that individuals with similar mental disorders frequently answer the same questions in similar ways.
In MMPI (Self-Portrait in Yellow), the projected image shows the artist reciting the test questions. Trapping the head under a folding chair adds to the psychological tension of the work.

read more at Milwaukee Art Museum