OCTOBER 2020

SELF PORTRAITURE

The Self Portraiture, October 2020 Issue, explores the powerful tradition of self-representation through the work of 38 emerging and early-career artists. This issue showcases how contemporary artists use self-portraiture to interrogate identity, reflect on societal constructs, and push creative boundaries.

Through photography, painting, mixed media, and more, these artists reinterpret the self-portrait to connect personal introspection with collective cultural narratives. The issue also features five in-depth interviews with Paulina Kim Joo, Darius Churchman, William Camargo, Aghogho Otega, and Salma Olama, offering a behind-the-scenes look at their creative processes and reflections on the evolving role of self-portraiture.

From historical roots—such as the implicit cultural reflections in Joshua Johnson's works—to modern innovations like Omar Victor Diop’s diasporic commentaries, this issue examines the self-portrait as a vital and transformative art form. In a world increasingly shaped by digital technology and virtual realities, these works remind us of the enduring power of self-representation to bridge the personal and the universal.

Discover the artistry, narratives, and insights of a new generation of creators redefining what it means to see and be seen.

The self-portrait has long been a cornerstone of art, enabling artists to explore their identities, reflect on societal constructs, and innovate creatively. Beyond the traditional image of the artist’s face, self-portraits delve into deeper layers of personal and collective narratives. Historically, they have served as tools for self-expression and social assertion, exemplified by figures like 19th-century African American artist Joshua Johnson. His work, though focused on others, reflects implicit self-reflection and cultural legacy.

Artists such as Frida Kahlo and Zanele Muholi have expanded self-portraiture into realms of cultural, political, and social critique. Kahlo’s symbolic works examine identity and resilience, while Muholi’s stylized portraits confront race, gender, and sexuality, showcasing the medium's potential for empowerment. Similarly, Indigenous traditions, such as Yoruba art, emphasize selfhood as communal and spiritual, offering an alternative to Western individualism.

This evolving practice underscores the self-portrait’s enduring importance as a bridge between personal introspection and broader cultural dynamics.