A Haiku portraiture to Georgia O’Keeffe and Orville Cox

A Haiku portraiture to Georgia O’Keeffe and Orville Cox by Shaun Mullins, 2021. winter cumulus cowboys and desert roses eyes for mischief make Georgia O’Keeffe and Orville Cox at Canyon de Chelly National Monument Arizona, 1937, Ansel Adams. This is an Haiku exercise, using a photograph that I chose for the subject motivator for my

Sexuality, Documents of Contemporary Art.

Amelia Jones, (ed.) (2014) Sexuality, Documents of Contemporary Art, London: Whitechapel Art Gallery. ISBN: 978-0-85488-224-3. This book is a collection of essays and interviews. Many of the artists are involved in performance art in which they will either perform in front of a live audience or video their work. Much of the discussion is in

Self Image, Personal is political (1979) by Angela Kelly

Women’s Identity (1975 – 1979) Angela Kelly This essay, Kelly examines the use and mis-use of self portraiture, to quote Kelly: to determine what relevance a seemingly private practice has to a public audience. (p.410, Wells, 2003). Kelly suggests in her essay, that at the time of writing, self-portraiture had not been properly analysed. As

Walker Evans

Walker Evans created a project called, Subway Portraits, (1938-41) in which he hid a camera under his coat with just the lens peeping out and he secretly took photographs of fellow passengers, on the New York subway trains, that were sitting opposite him. He later joined the Farm Security Administration (FSA). In 1936 whilst on

Sophie Calle

Sophie Calle has produces several projects using the idea on the clandestine camera, in one project named The Shadow (1981) she asked her mother to hire a Private Investigator to follow Sophie around Paris as she went about her normal routines. The result was a collection of photographs taken at a distance with out a