Claude Cahun (25th October, 1894 – 8th December, 1954), born Lucy Renee Mathilde Schwob was a French lesbian photographer, sculptor and writer. Schwob adopted the pseudonym Claude Cahun in 1917, and is best known for self portraits, in which Cahun assumed a variety of different personae. Cahun’s work was both political and personal, and often undermined traditional concepts of gender roles. In her autobiography she says, “Feminine? Masculine? It depends on the situation. Neuter is the only gender that always suits me.” During WWII Cahun was also active as a resistance worker and propagandist.
Photographs by Claude Cahun
Image Analysis
This image is very monochrome, with different light and dark tones that contrast each other well. The composition of this image is well thought out with her head in the glass being the focal point in the center of the image. I believe this image has a deeper meaning and hasn’t just been created because it’s nice to look at. I think this image is a reflection of Claude Cahun’s life as she is trapped in this glass dome and on display in this image, which could imply she felt the same way because people would look and pay attention to her but would never think of her as anything other than a woman because it wasn’t as normalized in her time as it is currently. This image is perfectly thought out as it doesn’t give away too much but it shows enough about Cahun to get you thinking.
There is clear differences between these photographers and some less obvious similarities. Firstly, all of Claude Cahun’s images are very monochromatic and faded grey tones, where as Zarita Zevallos’ images are extremely bright and colourful. Both photographers are exploring identity and escaping the labels others have given them. Claude Cahun pushes gender boundaries and explores sexual identity by giving herself multiple identities in her images. However, Zarita Zevallos is exploring race and using the barbed wire and the edited image in the bottom left corner to show the men in the images are trying to break free from the stigma that has wrongfully been surrounding black men for years. Claude Cahun created some of the most startlingly original and enigmatic photographic images of the twentieth century, she brought more attention to gender fluidity and sexuality and has been referred to as being ‘years ahead of her time’. Zarita Zevallos, through her hyper-reality portraiture expresses what is going on in a specific community or society in general. Her goal is not only to denounce, educate and create awareness but to incite a movement/change. Both photographers were using their photographs to express their views.
Claude Cahun (1894-1954) was a French surrealist photographer known for her highly staged self-portraits exploring gender and identity. Cahun experimented with photographing herself in clothing that was not conventionally feminine or masculine, she was born ‘Lucy Renee Mathilde Schwob’ and in 1919 chose the pseudonym Claude Cahun as it was more sexually ambiguous. In 1937 Cahun settled in Jersey, disguised as a non-Jew, and during WW2, being passionately against war, produced anti-German fliers and placed them in soldier’s pockets secretly. It is clear that Cahun’s beliefs undermined the authority and society at the time as she went out of her way to disrupt ‘normality’ in her images. Additionally, Cahun’s androgynous appearance reflects her views on how identity and gender are just ideas formed by society, not set rules everyone needs to follow. Many of Cahun’s works can be found in The Museum of Modern Art in New York, the Museum of Fine Arts in Boston and the San Francisco Museum of Modern Art, along with many others.
Julian Germain
Julian Germain is a British photographer who studied photography at The Royal College of Art in London. Germain’s project ‘for every minute you are angry you lose 60 seconds of happiness’ is a series of photographs made over 8 years of the quiet, contemplative existence of Charles Snelling, an elderly man living alone in a small house in Portsmouth, shown alongside pages from Snelling’s own photo albums. Germain met Snelling in 1992, he describes how his subject lived in a very unique house full of colours like orange and yellow- it was unlike anything he’d seen before. I really love this particular project of Germain’s because of it’s beautiful message depicting how the most important things in life cost nothing at all, he wanted to show people with a profound understanding of who they are and what they stand for, something that cuts across all cultures. I believe this holds a strong link to ‘identity’ as Germain captures the individuality of his subject in an environment important to him. This project really stood out to me when deciding on initial ideas because of it’s close link to family also, I hope to take images of a similar standard in my study.
Julian Germain | For every minute you are angry you lose sixty seconds of happiness | 2005
Image Comparison
Although Cahun and Germain’s style of photography does not focus on the same concept of identity, these 2 images hold many visual and technical similarities. For example, the composition of each image is extremely similar as both subject’s are looking away from the camera with their bodies angled side-on to the lens. In Germain’s image, this may symbolise his subject’s bright view on the world, as if he is looking out of a window and seeing it’s beauty, furthered by his smiling facial expression. However, in Cahun’s image this composition creates a more closed-off atmosphere, suggesting Cahun has a more negative view on the world and on society. In addition, both images seem to have similar lighting coming from the right of the photo, which creates the main highlights on the front of the subject’s face. This lighting also produces similar shadows in the images, falling behind the subject’s neck and across the left side of their face. Nevertheless, it is clear that Cahun has used a more harsh artificial lighting and that Germain has made use of natural sunlight through a window to capture these images. This sharp lighting in Cahun’s image initiates a more intense dramatic atmosphere whereas Germain’s creates a soft cheerful mood. Another difference between these images are the photographer’s choice of background. Cahun is positioned in front of a dark blank background, possibly symbolising their views on how society’s minds are blank to new ideas and beliefs revolving gender and identity. Contrastingly, Germain’s subject is stood in front of a highly patterned background. The repetition in the wallpaper could suggest the subject has a large family, with the repeated shapes representing family members like a family tree. Furthermore, both of the image’s subjects have similar facial features. Cahun portrays themself with conventionally masculine attributes, such as short hair, in order to disrupt gender norms and go against what society expects. Germain’s masculine subject has a very similar hairline to Cahun, showing that certain facial features or hairstyles are not reserved for a certain gender.
“Self – portrait (shaved head, material draped across body) – Claude Cahun (1920)
“à la plage (at the beach)” – Carolle Benitah (2009)
Carolle Benitah and Claude Cahun share both differences and similarities in their works. The theme of identity is an iconic similarity between the two pieces of work, however these artists display them in different ways. Claude Cahun focuses on the idea of self-expression in terms of identity, whereas Carolle Benitah displays how her identity has been formed through childhood and the cultural tradition of embroidery.
Both pieces also have a vintage aesthetic to them, with the use of the monochrome tones and the grainy appearance of the images. Claude Cahun’s self-portrait was taken in 1920, and as the use of colour photography was not widely accessible, all of Cahun’s photos lack colour. On the other hand, although the original images used by Carolle Benitah are also monochromatic, she adds colour physically through sewing and embroidery.
In terms of the actual photography used, Claude Cahun often uses herself as the model in her images, meanwhile Carolle Benitah uses old family photos which display her relations as well as herself. Carolle Benitah’s work could be argued as whether or not they are photography or art as Benitah did not physically take the images herself. The depth of field in both images are difficult to determine as the background consists of empty, negative space.
Another difference between the two images is that Carolle Benitah’s images are often heavily edited, whether it is digitally or physically. This contrasts to Cahun’s work as there is a sense of rawness to them, as digital editing was impossible and there is no evidence of Cahun physically editing her images after printing. However there is an obvious, large time gap between the images being produced, so Carolle Benitah had the accessibility to digitally edit her photographs.
I am going to focus my work on telling a story in way in which I explore identity in terms of feeling a loss of identity by feeling like an outcast to society but finding identity by fitting into a sub culture.
In my opinion, identity is the definition of who you are. This can be shown through appearance, behaviour, hobbies and many other factors. Your identity is formed throughout your lifetime and can be affected by upbringing and the person’s specific influences
In photography, the use of colour, clothing and editing can be used in order to represent someone’s personality to the outside world. The setting of the photograph can also allow us to get to know the person’s identity deeper.
Carolle Benitah
“La vague” (The wave) – Carolle Benitah (2012)
Carolle Benitah, born in 1965, is a French visual artist who combines her old family photos with physical editing techniques such as embroidery to reform her own history. The images Benitah edits are from her past family albums, 40 or so years before she brought them back up to learn more about who she was and how she became that person. Carolle Benitah explains that she uses embroidery and other craft techniques in the editing of her images as those activities were seen as “feminine”, as women were expected to learn to embroider and sew in order to comply to the ‘perfect wide’ stereotype. Benitah previously worked in fashion for 10 years before returning to photography in 2001. Her work has been published in magazines such as Leica World, Lens Culture, Shots Magazine and many more. Carolle Benitah’s series ‘Photos-Souvenirs’ was also selected to exhibit in FotoFest’s 2014 Discoveries of the Meeting Place showcase of past Biennial portfolio reviews.
Analysis of Carolle Benitah’s work
“Pomplondin” – Carolle Benitah (from series ‘Photos-Souvenirs’ published 2016)
This image, named “Pomplondin”, is gently lit using natural lighting. The sunlight may be slightly overcast as the image has a lot of grey, dark tones. The light is coming from behind the people in the photograph as the shadows are cast in front of them. The brightest part of the photograph is the white-washed water flowing in the background.
The thin, red lines embroidered onto the image outline the family in the middle third of the photograph, proving them to be the focal point of the image. The organic, curving lines of water can be seen as leading lines as they direct the viewers eyes from one side of the image to the other, with the placement of the family in the middle.
There is no strong sense of repetition in this photograph, however the ripples in the waves can be seen as a form of echo, as they create a rhythmic pattern.
All the shapes in the image are organic and unorganised. This creates a sense of realism to the photo as the features are not artificially placed and the image is taken more in the spur of the moment, although the family is posing for the photo, there is no precise set up to the image.
There is a strong sense of depth in this photograph as it displays a shallow depth of field. The family, being the focal point, are in focus which contradicts the blurry background. The background can be seen as a somewhat empty space, as there is little detail to objects in this area. The only objects filling this space is the occasional person swimming in the background.
The photograph displays a mainly smooth texture due to the reflections in the water and the smooth flow of the waves. However this is contrasted by the rugged rocks in the background of the image, as the sharp edges juxtapose the gentle waters.
There is a range of tones from dark to light in this image which contradict eachother. For example, the lightest tones in the photograph can be seen in the foamy waves or the clothes of the people, and the darkest areas of the image can be seen in the background and foreground in the rocks and shadows.
In the image itself, there is no use of colour. However this is juxtaposed by the thin, red lines put in place by Benitah to create contrast between colour and monochromatic themes.
There is little arrangement in this photograph as the family in the foreground of the photo are posing for the photographer, however it is not formally arranged for a purpose. The scene seems moderately balanced as the focal point is placed in the middle third with rather equal amounts of background either side. There is no geometrical shaped imposed in the image although the rule of thirds is used.
The character or personality of an individual/the relation established by psychological identification.
Identity is who you are, the way you think about yourself, the way others view you and the things that make you unique to others, characteristics that define you. It is also the beliefs, personality, looks and/or expressions that make a person.
There are multiple types of identity which are the following: cultural identity, professional identity, ethnic and national identity, religious identity, gender identity, disability identity and psychological identity. A psychological identity relates to self-image (a mental model of oneself), self-esteem, and individuality).
Alec Soth is an American photographer born and based in Minneapolis, Minnesota. He has published over twenty-five books. In 2008, Soth created Little Brown Mushroom, a multi-media enterprise focused on visual storytelling.
Alec’s debut, Sleeping by the Mississippi , was first published in 2004 and contained photos, of local people, places and things, taken along the Mississippi river during several road trips between 1999 and 2002.
His documentary images leave you wondering about the story behind them. Each photograph has an element of exploration and familiarity, studying middle America and the lives of people.
Fort Jefferson Memorial Cross, Wickliffe, KY, 2002
Johnny Cash’s Boyhood Home, Dyress, AK, 2002
Alec Sloth’s images based on the theme of identity incorporates the home town of people (place) to show that peoples identity can be defined through their culture and life. The images above have an aspect of the peoples jobs or hobbies which can also influence someone as a person. The images of the objects/locations indicate a more simple or hidden identity isolated from the people. For example the houses seem more intimate and more meaningful then the other images as they seem to tell a story of the past.
I would like to photograph places in jersey which relate to me or my family and have meaning. when taking the photos I want to take the concept of isolation and interpret it by having a single small focal point and an empty sky/background around it.
To make my final outcomes more personal to me I would like to take old pictures of places from my parents towns (England, Broxborne and France, Le Harve) to show parts of my family’s history and culture and try and do some sort of collage with the new photos I will take from where our home is, Jersey.
Claude Cahun, from Nantes and moved to Jersey, is a French writer and plastic artist-photographer. Her life is closely linked to that of another artist of Nantes origin, Suzanne Malherbe, her companion. She photographed in the period of surrealism.
Rania Matar is a Lebanese/Palestinian/American documentary and portrait photographer. She photographs the daily lives of girls and women in the Middle East and in the United States, including Syrian refugees.
The book A Girl and Her Room (published 2012 and various shoots between 2009 and 2010) reveals the lives of girls from the U.S. and Lebanon. Set in the girls’ bedrooms these portraits offer an insider’s perspective of not just who these young women are, but the physical spaces that are extensions to their identities.
Photos from A Girl and Her Room:
Rania Matar’s series of photos from the Middle East and in the United States comparing the home lives and lifestyles of young women around the same age shows how the identity of people is reflected in their rooms. It also reflects the juxtaposition between location and how people are brought up/live differently.
I would like to take pictures of me in my room or with objects that relate to my identity, things to do with my hobbies or personality.
Yoshikatsu Fujii, born and raised in Hiroshima City. He often looks at historical themes and memory in contemporary events. Fujii’s project “Red String,” his hand-made limited edition photobook was highly inspired by his parents’ divorce.
Yoshikatsu fujii’s photos relate to objects or people that make us who we are and are part of our life. I like how the relationship between people is portrayed in the photos of people and how they are showing their everyday life and culture.
I would like to take photos similar to the ones with objects or places with a isolated mood but also showing that there is life in the photos. The photos with the people i would also like to take them similarly with different people to show that people act differently. I could also find old photos of me with people and compare them by creating a sort of collage.
Born in 1961 in Morocco and Londoner since 1973, Hassan Hajjaj, lives and works since then between two countries. He is also influenced by cultural and musical scenes London, only by its northern heritage African. His artistic universe translates its ability to build bridges between these two cultures. Large coloured compositions, adopting the codes of photography contemporary fashion and pop art, they cross styles, universe and icons.
What I want to create
I come proudly from two different cultures .Indeed I’m Austrian and Mexican, two completely different cultures. This is part of my identity because I grew up with these two different origins and I made it in my own. So I wanted to take pictures that represents my two origins. What I find pleasant in Hassan Hajjaj’s photography is that he shows his cultures very proudly. I love the colours, the poses, the clothes and its makes me smile.
Claude Cahun is a woman who has reinvented herself through photography by posing for the lens with a keen sense of staging: dressed as a woman or a man, shaved or wicking, masked or disguised. The most radical pieces, such as his self-portraits made in 1928 or the sets such as “I’m in Training”, foreshadow contemporary performance. Each is a variation on the question of identity and gender, the body and its metamorphosis, individualism and the sense of exception
Analysis
Claude Cahun (Lucy Schwob), Untitled 1921–22
This definitely shows gender identity. We can see the great Claude cahun in full action. In this photo she has chosen to represent herself bald. Even her eyebrows are not showing. She is dressed in what appears to be a fairly masculine costume. The costume is black, quite large and a bit large for her. She has a white shirt underneath that matches her handkerchief . Her position is in my opinion mixed . We can see that her fist is tight as before a fight. And on her right side she puts her hand on her hip which gives a rather relaxed mood. Her face expresses a little questioning. Although she dresses in a fairly masculine way you can see in her face that her upper lip has lipstick. What could represent femininity. This image is in black and white which creates a good contrast and a dramatic mood.
Comparison
Claude Cahun
Hassan Hajjaj Moroccan Pop Art
These photographers have a completely different style. The only similarity is that the models are placed in the middle but they don’t even have position. In the background of the photo of Hassan Hajjaj we can see patterns and colours while that of Claude cahun you can not really den something. The photo of Claude cahun is black and white which creates contrast while that of Hassan Hajjaj is in colour to make resort the beautiful Moroccan motifs.
‘Claude Cahun, born Lucy Renee Mathilde Schwob, was a French lesbian photographer, sculptor and writer. Schwob adopted the pseudonym Claude Cahun in 1917 and is best known for self-portraits, in which Cahun assumed a variety of personae.’ As a gender neutral person, Claude created many artworks starting at 20 years old, up to her death in her 50’s. She used this artwork to express her identity- this being mostly gender identity. I would describe her work as fascinating and odd with a sense of deep meaning yet a bit of fun.
Much of the artist’s work was destroyed following an arrest and subsequent imprisonment for resistance against the Nazis. This also meant that many of her found pieces were not dated or named.
“Here, Cahun presents herself as bold, androgynous, and doubled by a mirrored-reflection. The image is lush with textures and tones: the checkerboard jacket, highlighted hair, and smooth sun-kissed skin all make the image vivid with the abundance of life. Traditionally, the inclusion of a mirror in art was used as a convenient way to expose two enticing views of a female subject or, alternatively, as a way to emphasize a woman’s vanity. In this case however, the ‘real’ Cahun looks away from the mirror and engages with and meets the viewer’s gaze. Cahun rejects being typecast as a passive woman who is visually consumed by admiring herself. There is no sin of vanity at work here, and instead qualities of thoughtfulness, exploration, and self-assurance confront the viewer.” – Art historian Shelley Rice
Claude Cahun was not the basic photographer of her time, she liked to explore different methods and tried many different things with her artworks, for example double exposure (as you can see above), photomontages and the use of masks and other props. In this image we see a dark backdrop- this makes Claude’s light skin pop, making her the only focus point. As it is only her head and shoulders in the photograph, it allows the viewers to focus on her facial expression and bold look. The way the two exposures have been also put together create a sense of symmetry in the image- even though there is not.
Lucas Simoes is an independent artist based in São Paulo, with a background in architecture and design. His experiences of training as an architect redefined his perceptions of art and opened new paths of discovery. He was born in 1980, whereas Cahun was born in 1894- this is almost a generation apart.
His works explore the limits and unpredictability of behaviour of materials and the final results always spans between an act of research and a genuine art piece. I will be focusing on his photographic project called ‘Burns’ where he would print out photographs of people and create burns in the paper.
“To burn pictures, a way of physically erase a memory by burning it, so with time, the image that is burnt will disappear from your memory. The pictures in that series are not mine, I took it from many different sources, and the coloured tag under it is my way of telling that the image is not original, but printed in a paper, it symbolises the “ink on paper”…
Every photograph we take represents a memory, one we can see clearer than our brains remember. In my project, this could represent how people are seen in memory/remembered- and how it varies and changes.
“Because personal and collective memories are so inextricably intertwined with photographs—the result of the medium’s progressive saturation of everyday life for the past century and a half—this revolutionary change in the production and dissemination of photographic images is altering society’s relationship to memory.” – https://www.eastman.org/matter-memory-photography-object-digital-age
He describes these photographs as memories which he is ‘burning away’. This work is different to Claude’s in the sense that hers shows confidence and almost self-discovery in some, whereas Lucas’s work represents the erasing of memories and pictures from someone’s mind. He also added strips of hot colour to his work which made the images pop- and Claude’s images consisted of high contrast which made her images pop in a different way to Lucas’s. Another difference between these two artists is that Claude would take self portraits- and Lucas took images of others that weren’t his.
Jesse Draxler is a mixed media and multidisciplinary artist, and his pieces combine painting, photography, collage, typography and digital painting. He also wrote a book in which he incorporated the first photograph below among many others. “Misophonia incorporates various mediums and styles from figurative painting and harsh typography to deliriously textural photography and collage. The book serves not only as a master collection of Draxler’s work throughout his career to date, but also as a living organism, in which each piece communicates with the others, the whole, and itself.”
The photographs above are the ones I will be focusing on. Draxler cut out sections of the same person at different angles and put them all together. With my project this could potentially represent the different angles and perspectives that people are seen by.
