Cindy Sherman

What photography movement was Cindy Sherman a key figure of? And what was their purpose?

Cindy Sherman was an important figure in Conceptual Photography, especially in Feminist Art and Postmodernism.

Her work involved taking self-portraits where she dressed up as different characters to explore themes like identity, gender, and how women are shown in media.

Purpose: Sherman’s goal was to challenge the typical ways women are portrayed, like the “femme fatale” or the “damsel in distress.” She showed that these roles are not real, but rather performances influenced by society. Her work made people think about how media shapes our ideas of gender and identity.

What did she do before she became a photographer?

Before becoming a photographer, Cindy Sherman studied art. She initially attended Buffalo State College in New York, where she earned a degree in fine arts with a focus on painting. However, she became increasingly drawn to photography as a medium to express her ideas. While at college, she also experimented with other forms of art, including drawing and film.

Sherman’s shift to photography allowed her to explore concepts of identity, gender, and representation in a new way, eventually leading her to become one of the most influential photographers in contemporary art.

What are the key goals of her photography?

Cindy Sherman’s photography focuses on challenging stereotypical representations of women and exploring the performative nature of gender and identity. Through self-portraits in which she transforms into various characters, she critiques how women are portrayed in media, pop culture, and art, often highlighting the artificial and constructed nature of these roles. By using herself as the subject, Sherman questions the “male gaze” and shifts the control over female representation, urging viewers to reconsider how images shape our understanding of identity and gender. Her work ultimately seeks to provoke thought about how societal expectations influence how we see ourselves and others.

how dose she achieve these goals?

Cindy Sherman achieves her goal by photographing herself in a variety of personas and roles, using costumes, makeup, props, and elaborate set designs to transform her appearance. She doesn’t photograph other people but instead uses herself as the model, allowing her to explore and manipulate different identities. Through these self-portraits, Sherman portrays a wide range of characters, such as the “victim,” “heroine,” “mother,” “old woman,” “sex object,” “movie star,” and various figures drawn from stereotypes in film, advertising, and art. These personas often exaggerate or distort societal expectations of women.

Through this process, Sherman conveys a message about the constructed nature of gender roles and identity. By embodying different characters, she reveals how these roles are not inherent but are shaped by external influences like media and culture. Her work challenges viewers to question how much of their identity is influenced by societal norms and stereotypes, especially in how women are portrayed and objectified in the media. Sherman’s use of transformation and performance in her photography critiques the power of visual imagery in shaping perceptions of gender and identity.

Does Cindy Sherman consider her photos to be self-portraits?

Cindy Sherman does not consider her photos to be traditional self-portraits. While she is the subject of her work, her photos are not about capturing her “true” self or identity. Instead, Sherman uses herself as a medium to explore and critique various personas, stereotypes, and societal roles. Through her transformations, she embodies a wide range of characters, often drawing from cultural and media archetypes like the “victim,” “femme fatale,” or “older woman.”

Her work is more about examining how identity is constructed and how roles are performed rather than portraying herself in a direct or autobiographical way. Sherman’s photographs aim to reveal the artificial nature of these roles, rather than offer an intimate or personal glimpse into her own identity. In this sense, while she is the subject, the focus is on the broader themes of representation, gender, and identity, rather than a self-portrait in the traditional sense.

examples of her work –

Analyst –

visual –

within the photo you can see and women betrayed as a stereotypical women and that’s its in black and white, that’s shows that its been seen in an old mind set. furthermore how she is dressed is quite proper for a young women and also her outfit seems very feminine compared to how people dress now a days. on the face you cant see the facial expression, its very plain and doesn’t show any personality of the person. within this the photo is cute spacious its got only building, which go straight up high, and the subject is positioned in the lower middle and in the frame is the shoulders up.

Technical –

aperture – the background is mostly blurred in the left side and the right is in focus, the subject is fully in focus.

Shutter speed – which could of been quite a fast shutter speed as the subject is in focus, with a balanced exposure

Angle – Has it been taken from a slightly lowered angle, which is to create a sense of power or dominance in the characters she portrays. This challenges traditional depictions of women, who are often shown from higher angles to appear passive. The lower angle also emphasizes that the roles she embodies are not natural, but constructed, reflecting her critique of how society and media shape identity. By shifting the viewer’s perspective, Sherman encourages a more critical engagement with the images, inviting them to question the power dynamics and the meaning behind the characters.

this photo is taken as a head shot, this adds more mystery of to what’s going on below her.

Contextual –

Cindy Sherman’s Untitled Film Stills is a suite of seventy black-and-white photographs in which the artist posed in the guises of various generic female film characters, among them, ingénue, working girl, vamp, and lonely housewife.

Conceptual –

 a subtle satire of the feminine. stereotypes plaguing society now and in the past. By confronting viewers with a. familiar image of the ideal 1950s woman, she attempts to have viewers realise their. indoctrination to stereotypes.

another photo analysis –

visual –

within this photo you can see a very lady like subject, also it can be seen that its a hole body which shows the femininity of her outfit, as she is wearing a dress.

technical –

aperture – the backgrounds is out of focus and the foreground (the tree) is very in focus and same with the subject.

Shutter speed – should be relatively fast, ensuring the subject remains sharp and in focus while maintaining a well-balanced exposure.

the angle being taken from straight on creates a sense of direct confrontation or engagement with the viewer. This perspective often emphasizes the subject’s presence, allowing for a more intense or provocative interaction. By using a straightforward, frontal angle, Sherman often challenges traditional representations of identity and the roles people play, highlighting the constructed nature of the persona she’s portraying. This directness can evoke a feeling of discomfort or force the viewer to question their perceptions, as the subject seems to confront them head-on.

Clare Rae is an artist from Melbourne, Australia who makes photographs and moving image works that examine representations of the female body via an exploration of the physical environment. Rae came to see Jersey as part of the Archaise international artist-in-residence programme in 2017. She was researching the Claude Cahun archive .Rae is very inspired by Cahun. She was shooting new photography and film in Jersey, as well as doing workshops. 

From her research she produced a new body of work, Entre Nous (between us);Claude Cahun and Clare Rae. That was exhibited at the Centre for Contemporary Photography, Melbourne Australia 22 March – 6 May 2018, and subsequently at CCA Galleries  in Jersey, UK, 7–28 September 2018.

This is from her series Standing On Her Own Two Feet.

In her series, Never standing on two feet, Rae considers Cahun’s commitment with the physical and cultural landscapes of Jersey, an aspect of her work that has received not a lot of analysis to date.  Rae writes:

Like Cahun’s, my photographs illustrate my body in relation to a place; in these instances sites of coastal geology and Jersey’s Neolithic ritual monuments. I will use a visual dialogue between the body and these environments, and will trial how their photographic histories impact upon contemporary engagements. Cahun used self-portraiture to overthrow the dominance of the male gaze in photographic representation of the female body in the landscape of Jersey .

My practice is invested in the feminist act of self-representation and I draw parallels between my performances of increasing vocabulary of gesture and Cahun’s overtly performative images of the body expressing a multiplicity of identity. In this series, I tease out the interpretations inherent in landscape photography. I will be using gestures and the performing body to contrast and unsettle traditional representations of the female figure in the landscape.

Image Analysis

Visual

In the image there is a large rock covering Rae’s face. I think these rocks are granites, gabbros and diorites, since Jersey is very famous for these rocks and they are the most common rocks as well. One leg is straight which is the left and the right leg is slightly bent to create this pose. In this angle it looks like a skirt is being worn from the waist down. In this image they are holding a rock which my show the connection to family.

Technical

This photo is a half body shot due to her face not being present. In this image there is little to no lighting due to the image being very black and white, so there is no colour present. In the background there is no focus which means the aperture is very large, with a large hole in the middle of the camera and a very shallow depth of field.

Contextual

Some types are connected to rocks and buildings which suggest attachment. I utilise gesture and the performing body to contrast and unsettle traditional representations of the female figure in the landscape. This may suggest rocks are too heavy for women. This was influenced by Claude Cahun.

Conceptual

Through my photographic performances I will research specific gestures and movements undertaken within public and private spaces, considering the impacts on the body by educational and institutional authority. This is linking to Morden day portraits.

Artist Number 2

Claude Cahun

Claude Cahun (born October 25, 1894, Nantes, France—died December 8, 1954, St. Helier, Jersey) was a  French writer ,photographer, surrealist and a performance artist. Who was largely written out of art history until the late 1980s, when her photographs were included in an exhibition of Surrealist photography in 1986.

In early-20th-century France, when society were normally considered women to be women and men to be men, Lucy Schwob decided she would rather be called Claude Cahun. It was her way of protesting gender and sexual norms.

One of the most interesting figures to emerge from the island’s artistic community is Claude Cahun, a ground-breaking artist whose work challenged traditional gender roles and explored themes of identity, resistance, and self-expression. Surrealism will aims to revolutionise human experience.

She used self-portraiture as a tool to deconstruct and explore various personas, often presenting herself in androgynous or fragmented forms. Through costumes, makeup, and props, Cahun blurred the lines between masculinity and femininity, demonstrating that identity is not fixed but rather fluid and performative. Her work aimed to provoke viewers to rethink conventional notions of gender and self-expression.

Cahun’s relationship with Jersey began extremely early, with childhood holidays spent in Jersey and Brittany. They were born Lucy Schwob in Nantes, France to a wealthy and well off Jewish family. In 1937, Cahun moved to Jersey with her partner, Marcel Moore. But in their late teens and early twenties Cahun had been looking for a new, gender-neutral name for a while.

A Mood-board of Cahun’s work

Image Analysis

Visual

In the image there may be a man or a woman due to Cahun becoming gender neutral later in life. . In this photograph, Cahun is posed facing to the camera, yet her gaze is directed downward, with her face isn’t obscured by any part of her body. This creates a sense of mystery and ambiguity, which makes the viewer’s ability quite hard to categorize her into a traditional gender role. The obscured face also speaks to Cahun’s exploration of the fluidity of identity, rejecting fixed, conventional representations.

The object Cahun holds in her hands is a dumbbell, was not something a female figure would usually have in the 1920s considering, it was made for men because they are classed as “strong”. A time when women were often portrayed as delicate and gentle. The dumbbell implies strength, power, and physicality, which is in contrast to the more elegant, ornamental role which was often assigned to women. The choice of this object reinforces Cahun’s rejection of gender norms and her embrace of physicality, autonomy, and control over her identity.

Technical

The photograph used artificial lighting, likely studio lighting, given the sharp contrast between light and shadow. The light contours Cahun’s face and hands , which means the viewers eye is getting immediate attention to where the face and hands are positioned.

The background is blurred which will give a shallow depth of field, which suggests that a wide aperture (low f-stop) was being used. This sharp focus on Cahun’s figure, contrasted with the soft and out-of-focus background, which will direct the viewer’s eyes on her and the symbolic elements she presents, such as the dumbbell and the sign.

The image is caught from a straight-on or slightly elevated angle. This neutral and original angle will emphasize the subject’s self rule and implies that Cahun is presenting herself on her own terms, without depending on traditional hierarchical positioning.

The image was taken at a three-quarter body shot, focusing on Cahun’s torso, waist and hands. This framing allows for a accurate examination of the subject and the symbolic elements that will make up the image ,while also depending on the performative nature of Cahun’s self-presentation. The three-quarter shot also will allow for a sense of confidence while keeping the viewer at a slight distance, which keeps the public a certain distance away so thy can’t interfere.

Contextual

She wears a loose, neutral outfit, steering away from the traditional feminine dress of the time. This ambiguity in dress further tests the social expectations of how women were expected to look like in the 1920s.

In the 1920s and 1930s, women had to follow a strict dress presentation. The 1920s, known as the “Roaring Twenties,” saw the rise of the “New Woman,” which were more self-reliant, more mobile in public spaces, and more vocal about particular rights. This period also was a victory of women’s suffrage in many Western countries. However, many social pressures still remained, especially as the Great Depression in the 1930s was a return of the more traditional, conservative gender roles. In this context, Cahun’s work responds to these shifting dynamics, particularly the tensions between newfound freedoms and the persistent constraints on women’s roles.

Conceptual

Cahun’s works on the challenges of the rigid roles that were imposed on women between the 1920s and 1930s, using her art to critique both gender expectations and the broader societal limitations placed on individuals. By adopting an different appearance and rejecting the traditional representations of femininity, Cahun declines the traditional gender expectations in the 1920s-1930s.

The sign on Cahun’s chest, “I am training – don’t kiss me,” serves as a direct acknowledgement of the independence and autonomy. It suggests that Cahun is focused on her personal growth, which suggests this ants really expected from women because it implies using dumbbells in the gym.—whether intellectual, artistic, or physical—and rejects the idea of being defined by romantic or sexual attraction. The phrase “don’t kiss me” further suggests a refusal of being known as an object and a desire to assert control over how others interact with her.

Artist Number 3

Gillian Wearing

Gillian Wearing is a CBE, Who is an English conceptual artist, one of the Young British Artists, and winner of the 1997 Turner Prize. In 2007 Wearing was elected as lifetime member of the Royal Academy of Arts in London (RAAL).She was Born :December 10,1963,which will make her 61yrs.

Wearing was part of a movement where conceptual as very popular. This type is of art is from the mid-1960s to the mid-1970s. Conceptual is where the ideas are more important than the actual image.

Wearing, was initially inspired by fly on the wall documentaries such as Michael Apted’s Up series, which is about lives of others and her own family history; she uses photography, video and a range of devices to reveal and include personal details. Wearing also uses documentaries in her work.

A Gallery of Her Work

These images are from her ‘Signs that Say What You Want Them To Say and Not Signs that Say What Someone Else Wants You To Say’.

Image Analysis

Visual

In this image there is a man holding up a piece of paper saying ‘I’m Desperate’. ‘I’m Desperate’ may imply he may be in danger due to the environment he’s in The environment looks a bit run down due to slight bits of rubbish in the background. The man is standing straight up and straight on which means the man is clearly seen. This man is wearing a suit which suggests he may be rich and wealthy, since suits were expensive back in the 1990s.By wearing a suit may imply a certain amount of power.

Technical

In this image the aperture is a low F-number due to the shallow depth of field and the background has also been blurred by the camera. This photo was taken was taken in all natural lighting because it outside and there no other light sources appearing on it. If you look closely on the photo there may of been a slightly high ISO in some parts of the image due to some visual noise appearing which will give the image a degrading quality. The visual noise slightly appears on the Blue, navy blazer. This is three quarter shot due to the legs not being shown. This image is zoomed in which means you can see the finer details. The three quarter body shot will  highlight the facial characteristics while still giving a close view of the body.

Contextual

Lad culture (also the new lad, laddism) was a media-driven, principally British and Irish subculture of the 1990s and the early 2000s and it was the main culture. The statement lad culture continues to be used today to refer to collective, boorish or misogynistic behaviour by young heterosexual men, particularly university students.

By the 1990s the notion of a crisis of masculinity in con temporary life had begun to make news headlines. Concerns were raised about “deadbeat dads” and the increase of the “angry white man” as a voter type.

As the 90s dawned things were looking up for women. Daughters of second-wave feminism came of age and chose new paths unavailable to their mothers: delaying marriage and children, pursuing higher education, joining the workforce, and were assuming independence and identities outside of the home.

Conceptual

It also wasn’t traditional for women to go through to higher education until the late 90s.

It was right for men to wear proper suits and have only men jobs. E.G Builders and many more. Signs that say what you want them to say and not Signs that say what someone else wants you to say. HELP, 1992-1993. Gillian Wearing’s candid videos and photographs reveal the disconnection between inner lives and public personas.

Cindy Sherman is a key figure in the Pictures Generation, an art movement from the late 1970s and early 1980s. This group of artists critiqued how media and popular culture shape ideas about identity, gender, and societal norms. They challenged traditional notions of originality and explored how imagery from advertising, movies, and other media influences perceptions of self and society.

Sherman initially studied painting at Buffalo State College but found it too restrictive for her creative ambitions. This led her to photography, where she discovered more freedom to experiment with themes of identity and representation.

Her photography focuses on exposing societal stereotypes and roles, particularly those imposed on women. By emphasizing the constructed nature of identity, Sherman challenges the idea that identity is fixed or inherent. Her work critiques how media reinforces gender norms and cultural archetypes, drawing on visual references from movies, advertisements, and art history to highlight these dynamics.

Sherman photographs herself exclusively but uses her image to embody various characters rather than explore her own identity. Through costumes, makeup, props, and carefully staged settings, she transforms into housewives, actresses, clowns, historical figures, and exaggerated personas. These transformations critique the roles and stereotypes imposed by society and media, revealing their artificiality and underlying power dynamics.

While she is the subject of her photos, Sherman does not consider them self-portraits. Her intent is not autobiographical but rather to use herself as a tool to investigate broader cultural and societal issues. Her work serves as a platform for exploring themes of representation, identity, and the influence of media.

Image Analysis

Cindy Sherman adopts the role of a mid-20th-century woman, possibly a housewife or small-town figure. Her modest clothing, hairstyle, and makeup reflect traditional gender roles and evoke a character rooted in a specific cinematic archetype.

The photograph is set indoors, likely in a domestic or urban environment, with subtle details in the background such as walls or furniture that add context. These elements create a sense of intimacy and realism.

Sherman’s character is posed in a moment of stillness, gazing outward with an expression that suggests contemplation or unease. Her posture feels slightly tense, and the overall mood of the image is introspective and subdued.

The subject is framed in a medium shot, which captures part of her body while focusing on her expression and the immediate surroundings. This framing creates a sense of voyeurism and invites the viewer into a private moment, heightening the cinematic atmosphere.

The image suggests an implied narrative, as if the character has been caught during a reflective or routine moment. Sherman’s gaze and expression hint at something happening beyond the frame, adding tension and curiosity for the viewer.

The title, Untitled Film Still #14, is intentionally ambiguous. It evokes the idea of a larger fictional story, allowing viewers to project their own interpretations onto the scene.

The background being in focus suggests a narrower aperture, which ensures that both the subject and the environment are clear and contribute to the overall narrative. The clarity and balanced exposure indicate the use of a fast shutter speed to capture the stillness of the moment.

The photograph is taken from a slightly low angle, placing the viewer just below eye level with the subject. This creates a sense of intimacy and makes the viewer feel as though they are part of the setting. It is a half-body shot, which emphasizes Sherman’s expression and body language while maintaining relevance to the surrounding context. The framing feels balanced between safety and vulnerability, adding subtle tension to the image.

Historically, women in media have been portrayed in stereotypical roles such as housewives, femme fatales, or damsels in distress. These portrayals often objectified women or reduced them to secondary roles defined by their relationships to men. During the mid-20th century, women in film were frequently idealized, with their primary focus placed on domesticity, beauty, and passivity.

Sherman’s Untitled Film Stills were intended to resemble scenes from fictional movies. They mimic cinematic tropes and reference Hollywood and European films to critique how media constructs female identity and reinforces cultural stereotypes.

Sherman’s work highlights how cinema and media perpetuate unrealistic and limiting portrayals of women. By performing as these characters, she exposes these roles as artificial constructs rather than authentic representations of femininity. Her critique remains relevant today, as modern media continues to reinforce gender stereotypes through advertising, social media, and entertainment, reminding viewers to question and challenge the narratives presented to them.

Why did I chose Cindy Sherman as my Inspiration for this project?

I chose Cindy Sherman because her work challenges the way we think about identity and stereotypes in such a powerful and creative way. She’s able to take something as simple as a pose or a setting and turn it into a critique of how society imposes roles on people, especially women. I admire how she uses herself as a tool to explore these themes while making the images feel both familiar and unsettling.

Her focus on exaggerating and deconstructing stereotypes gives me a framework to explore similar ideas in my own work, especially when it comes to highlighting how certain roles, like the “perfect housewife” or the “ideal woman,” are so ingrained in our culture. I feel like her style allows for a lot of creativity and depth while still keeping the images accessible and relatable.

She inspires me to think beyond just creating visually interesting photos and to really question the narratives and expectations that come with the roles I’m portraying. Her work is the perfect combination of storytelling, critique, and artistry, which is exactly what I want to bring into my project.

How I want to convey Identity

In this photoshoot, I want to convey identity as something that is not fixed but rather constructed and influenced by societal expectations. By focusing on women’s stereotypical activities. I aim to highlight how these roles are often assigned to women and presented as “ideal” identities.

I want to show that these roles can feel performative or even restrictive, exposing the gap between how these identities are portrayed and the reality behind them. Small details, like an expression of boredom or frustration, or imperfections in an otherwise polished setting, will help emphasize the tension between the expectation and the individual’s experience.

My goal is to make viewers question how much of identity is shaped by external pressures, like media or cultural norms, and to encourage them to see these roles not as natural or inherent but as constructs that can be challenged and redefined. By staging these scenes with a mix of familiarity and exaggeration, I want the photos to feel reflective of shared experiences while also encouraging deeper thought about the stories we tell ourselves about identity.

Artist Research:

1. Claude Cahun (1894–1954) was a French surrealist artist, photographer, and writer, best known for her exploration of gender, identity, and self-representation. She is recognized as a pioneer in challenging traditional gender norms, often presenting herself in androgynous or ambiguous ways in her self-portraits. Cahun’s work questioned fixed gender roles long before such ideas were widely accepted, making her a significant figure in early feminist and queer art.
2. Born Lucy Schwob in 1894 in Nantes, France, she later adopted the name Claude Cahun, choosing a gender-neutral identity that reflected her rejection of binary gender categories. This name change was part of her broader exploration of identity as something fluid and self-defined, rather than tied to societal expectations.
3. Cahun’s primary artistic goal was to challenge the societal norms surrounding gender and identity. She used self-portraiture as a tool to deconstruct and explore various personas, often presenting herself in androgynous or fragmented forms. Through costumes, makeup, and props, Cahun blurred the lines between masculinity and femininity, demonstrating that identity is not fixed but rather fluid and performative. Her work aimed to provoke viewers to rethink conventional notions of gender and self-expression.
4. In 1937, Cahun moved to Jersey with her partner, Marcel Moore. During World War II, they became active in the anti-German resistance, using their artistic skills to create and distribute anti-Nazi propaganda. Jersey became an important base for their political activism and creative work, and Cahun’s legacy on the island is commemorated today, highlighting both her artistic achievements and her courage during the war.

Image Analysis

‘I am training don’t kiss me’

Visual Analysis

The image features Claude Cahun herself, an artist known for exploring themes of gender, identity, and self-expression through self-portraiture. In this photograph, Cahun is posed facing the camera, yet her gaze is directed downward, with her face partially obscured by her hands. This creates a sense of mystery and ambiguity, which challenges the viewer’s ability to categorize her into a traditional gender role. The obscured face also speaks to Cahun’s exploration of the fluidity of identity, rejecting fixed, conventional representations.

Cahun’s attire is simple and androgynous, contributing to the blurring of gender boundaries in the image. She wears a loose, neutral outfit, steering away from the traditional feminine dress of the time. This ambiguity in dress further challenges societal expectations of how women should present themselves in the 1920s.

The object Cahun holds in her hands is a dumbbell, an unexpected item for a female figure during the 1920s, a time when women were often portrayed as delicate and passive. The dumbbell symbolizes strength, power, and physicality, which is in stark contrast to the more passive, ornamental role often assigned to women. The choice of this object reinforces Cahun’s rejection of gender norms and her embrace of physicality, autonomy, and control over her identity.

On her chest, a sign reads: “I am training – don’t kiss me.” This statement is both a literal and symbolic declaration of independence. It suggests that Cahun is focused on personal growth or training—whether intellectual, artistic, or physical—and rejects traditional romantic or sexual roles. The sign speaks to her resistance against being objectified or defined by external expectations, emphasizing her control over how she is perceived and the boundaries she wishes to set.

Technical Analysis

The photograph uses artificial lighting, likely studio lighting, given the sharp contrast between light and shadow. The lighting accentuates the contours of Cahun’s face and hands, guiding the viewer’s attention to the expression and gesture while adding a sense of mystery through the shadows. This high contrast effect contributes to the surrealist quality of the image and reflects the tension between visibility and concealment.

The background is blurred with a shallow depth of field, which suggests that a wide aperture (low f-stop) was used. This sharp focus on Cahun’s figure, contrasted with the soft, out-of-focus background, directs the viewer’s attention entirely on her and the symbolic elements she presents, such as the dumbbell and the sign.

The image is captured from a straight-on or slightly elevated angle, which eliminates any power dynamics between the subject and the viewer. This neutral angle emphasizes the subject’s autonomy and suggests that Cahun is presenting herself on her own terms, without relying on traditional hierarchical positioning.

The shot is a three-quarter body shot, focusing on Cahun’s torso and hands. This framing allows for a detailed examination of the subject and the symbolic elements in the image, while also emphasizing the performative nature of Cahun’s self-representation. The three-quarter shot also allows for a sense of intimacy while keeping the viewer at a slight distance, further playing with the boundaries between self-expression and public perception.

Contextual Analysis

In the 1920s and 1930s, women were navigating a complex shift in societal expectations. The 1920s, known as the “Roaring Twenties,” saw the rise of the “New Woman,” who was more independent, more mobile in public spaces, and more outspoken about her rights. This period also marked the victory of women’s suffrage in many Western countries. However, societal pressures remained, especially as the Great Depression in the 1930s ushered in a return to more traditional, conservative gender roles. In this context, Cahun’s work responds to these shifting dynamics, particularly the tensions between newfound freedoms and the persistent constraints on women’s roles.

Conceptual Analysis

Cahun’s work challenges the rigid roles imposed on women in the 1920s and 1930s, using her art to critique both gender expectations and the broader societal limitations placed on individuals. By adopting an androgynous appearance and rejecting traditional representations of femininity, Cahun subverts conventional notions of gender and identity. Her self-portraits, particularly this one, show that identity is not fixed but can be fluid, fragmented, and self-constructed.

The sign on Cahun’s chest, “I am training – don’t kiss me,” serves as a direct declaration of independence and autonomy. It suggests that Cahun is focused on her personal growth—whether intellectual, artistic, or physical—and rejects the idea of being defined by romantic or sexual attraction. The phrase “don’t kiss me” implies a refusal of objectification and a desire to assert control over how others interact with her.

The words “Totor” and “Popol” inscribed on the dumbbell may refer to private nicknames between Cahun and her partner, Marcel Moore. These playful names could represent the multiple identities Cahun navigated in her personal and artistic life. They may also allude to Cahun’s quote, “My soul is fragmentary,” suggesting that she viewed herself as a collection of overlapping, sometimes contradictory identities. This complexity is mirrored in the image, where Cahun presents herself as both a powerful, physically engaged figure (through the dumbbell) and an introspective, vulnerable individual (through her facial gesture and body language).

The juxtaposition of the feminine pose and the dumbbell in the image creates a powerful contradiction. On one hand, Cahun’s soft, contemplative pose suggests femininity, vulnerability, and passivity. On the other hand, the dumbbell, an object associated with strength, masculinity, and action, challenges traditional gender roles. This contrast reflects Cahun’s broader critique of fixed gender categories and her exploration of identity as something fluid, performative, and complex. By combining these elements, Cahun emphasizes that identity and gender are not defined by external expectations but are multifaceted, negotiable, and ever-evolving.

What is Identity?

Identity- the qualities, beliefs, personality traits, and characteristics that make an individual or group distinct from others.

Types of Identity:

Personal Identity: A person’s understanding of who they are, based on their experiences, values, memories, and self-image. (What makes a person ‘them’)

Social Identity: How a person defines themselves through their association with various groups, such as family, ethnicity, nationality, gender, or profession. This is influenced by societies expectations.

Cultural Identity: A sense of belonging to a particular culture or ethnic group, shaped of shared morals, values, language, and traditions.

Femininity:

What is Femininity?

Femininity- the qualities, behaviors, and attributes traditionally associated with being female or womanly in society. For example traits like nurturing, sensitivity, empathy, and emotional expressiveness. However, femininity is culturally and socially constructed, and its definition can vary across different cultures and historical periods.

Traits associated with Femininity:

1. Appearance: Societal expectations about how women should dress, or present themselves, such as wearing dresses or makeup (though these have changed through time.)
2. Social Roles: The roles women are often expected to take on, such as care-giving (traditionally to their husbands and children), homemaking, or being emotionally supportive.
3. Behavioral Expectations: Traits like politeness, compliance, and being nurturing toward others are often associated with femininity.

Masculinity:

What is Masculinity?

Masculinity-the qualities, behaviors, and roles that are traditionally associated with being male or manly in a given society. Like femininity, masculinity is socially and culturally constructed, meaning that what is considered “masculine” can vary across cultures and historical periods.

Traits associated with Masculinity:

1. Strength: Physical power or resilience, often in traditional masculine roles (physical work ect.)
2. Independence: Ability to be self-reliant, and the ability to manage things alone.
3. Assertiveness: A tendency to take charge, express opinions confidently, or lead.
4. Stoicism: The ability to remain emotionally controlled or unaffected, particularly in tough or challenging situations.
5. Courage: A willingness to take risks or face danger, often seen as a sign of manliness.
6. Dominance: A tendency to assert authority or leadership, sometimes linked to traditional gender roles in which men hold power over women.

How different aspects of Identity are influenced by your environment/ upbringing:

Gender Identity: The culture and environment in which someone is raised can affect how they express and understand their gender. In some places, traditional gender roles are strict, while in others, there’s more freedom to explore your gender.

Cultural Identity: Where you grow up shapes your connection to culture, language, and traditions. In a community that shares the same values, language, religion ect, cultural identity might be strong, while in diverse areas, people may adopt multiple cultural influences.

Social Identity: The groups we belong to, such as family, social class, or religion, are influenced by our surroundings. The values and norms of these groups shape our sense of self and how we relate to others.

Geographical Identity: Your sense of self can be tied to the region or country you’re from. For instance, a person from a bustling city like New York might identify with the fast-paced, diverse, and modern lifestyle. They may see themselves as part of a larger, diverse culture .On the other hand, someone raised in a rural village might identify with a quieter, more community-centered lifestyle, valuing close relationships and a connection to nature.

Political Identity: The political environment of where you live can influence your beliefs and values. Growing up in a particular political climate can strongly shape your political views and affiliation.

Loss or Lack of Identity: Migration, or rapid societal change can lead to a sense of lost identity. People who move away from their home cultures may struggle to fit into new environments, leading to confusion or social isolation.

Stereotypes and Prejudices: Stereotypes based on race, gender, or background can impact one’s identity. Living in an environment where prejudice is common can cause people to challenge these views.

Moodboard

Identity

“Identity” is basically who you are, it’s made up of the things that define you, like your values, beliefs, and how you see yourself. It also includes how others see you. Your identity can be shaped by lots of things, like your background, experiences, and the society you’re part of. It’s not fixed and can change over time as you grow or as you’re exposed to new ideas.

Femininity

Femininity is the set of qualities or behaviors that society often associates with women, like being nurturing, emotional, or gentle. These ideas about femininity can vary from culture to culture and can change over time. It’s not something that everyone who is female has to follow, and today, many people are pushing back against these old stereotypes of what women should be like.

Masculinity

“Masculinity” is similar to femininity, but it’s about the traits traditionally linked to men, like being strong, independent, and assertive. Just like femininity, ideas about masculinity are shaped by culture and society, and they’ve evolved a lot in recent years. Now, more people are recognizing that there are many ways to express masculinity, and it’s not limited to just a few behaviors.

Gender Identity

Gender identity is how you personally feel about your gender, whether you feel like a man, a woman, or something else entirely. Society often has certain ideas about how men and women should act, but those ideas aren’t the same everywhere, and they’re always changing. Growing up in a place where there’s a lot of pressure to act a certain way based on your gender can affect how you see yourself, but so can being in an environment where people are more open-minded about gender.

Cultural Identity

Cultural identity is about feeling connected to the culture or traditions of the group you’re from, like language, food, religion, or customs. If you grow up in a place where that culture is important, it can become a big part of who you are. But if you move to a new country or grow up in a mixed community, your cultural identity might become more fluid as you blend influences from different places.

Social Identity

Social identity is how you define yourself based on the groups you belong to, like your family, community, or class. Your social identity affects how you see yourself in relation to others and how you feel about your place in the world. For example, if you grow up in a working-class family, that might shape how you think about success or what kinds of opportunities are possible for you.

Geographical Identity

Where you’re from, whether it’s a specific country, city, or neighborhood, can shape who you are. The place you live affects your values, your lifestyle, and how you relate to the world. If you’re from a small town, you might have a different sense of community or pace of life compared to someone from a big city, for example.

Political Identity

Political identity is about where you stand on issues like government, rights, and power. This is often influenced by the values you were taught growing up, the society you live in, and the political climate of your country. So, someone raised in a conservative family might have a different political identity than someone from a progressive background.

Loss of or Lack of Identity

Sometimes people feel like they’ve lost their sense of identity or never really figured out who they are. This can happen if you go through big life changes, like moving to a new place or dealing with personal struggles, or if you’re stuck in a situation where you don’t feel like you belong. It can be confusing and leave you unsure of where you fit in.

Stereotypes and Prejudices

Stereotypes are oversimplified ideas about certain groups of people, and prejudices are biased attitudes based on these ideas. These can influence how you see yourself or how others see you. For example, if society expects women to be nurturing, a woman who doesn’t fit that mold might feel like she doesn’t belong, or she might be judged unfairly.

Artist: Michael Betzener:

In the double exposure images, the overlapping imagery suggests that a person cant be reduced to a single image or perspective. Instead, we are multifaceted, shaped by different things for example our emotions, memories, experiences which come together to form our sense of self. I believe these portraits ask us to consider not just the visible aspects of a person, but also the invisible, the inner complexity that often goes unnoticed.

The overall effect feels like peering into someone’s soul, not just focusing on the surface, it makes you think about the subjects experiences, thoughts and internal contradictions.

When I look at the mirrored images, the symmetry powerful, the subject is split in half with a perfect mirror image on either side. It feels like you’re staring at a reflection in a way that feels both calming and unnerving. The symmetry creates a sense of balance, but there’s something about it that doesn’t feel totally natural. It’s like there’s another version of her that on the surface level is identical but i think it is representing another vulnerable side that the subject is reflecting upon.

In terms of technique, Betzner is extremely precisise in these mirrored images. The way he aligns everything with perfect symmetry but still leaves a little room for imperfection gives the images a sense of realism that’s slightly unsettling.

The perfect split image feels like Betzner is playing with the idea of fragmentation, how our identities are often divided between how we project ourselves to the world and how we experience our inner selves. It’s like the mirror isn’t just about reflecting what’s in front of it, but about making us question what we really see when we look at ourselves.

Betzner’s use of double exposure inspires me to experiment with the idea of layering in my own work. The layers in his images don’t just add visual interest, they tell a story, often suggesting that the subject’s identity is never fully visible or contained within a single image. And I am going to attempt to expose that other side in my images.

My experiments with double exposure:

In this image the eye contact is what draws you in. The eyes create a direct connection, that feels personal, as though the subject is looking right at you. There’s a feeling of being watched or observed, but also of being unable to fully understand what’s being communicated. The eyes are clear, sharp, almost as if they’re holding something back, while the rest of the image feels like it’s slipping away as the colours and features blur. It’s unnerving because the subject feels both present and distant, both familiar and foreign at the same time.

In this image the contrast between the deadpan expression and the screaming overlay creates a strong tension throughout. In the background image her face is almost emotionless, as if she’s holding something back, like a mask of control, suppressing her true feelings. The screaming image almost erupts out of her face, disrupting the calm and revealing her raw emotion.

In this double exposure portrait, I used pink and blue/green to create a strong contrast that gives the image both depth and emotion.

Pink (Warm)

The pink tones add warmth and a personal touch to the photo. They make the subject feel more intimate and alive, like you’re connecting with them on a deeper level.

Blue/Green (Cool)

The blue/green tones, on the other hand, bring a sense of calm and tranquility to the image. It also creates a distant feel between the two images, the eye contact in the camera makes it feel like she’s looking right through you which creates a sense of unease.

The Contrast Between Pink and Blue/Green

The way pink and blue/green work together creates a nice balance. The pink draws your attention to the subject, giving it warmth and intimacy, while the blue/green tones add space and mystery. One colour feels close and emotional, while the other feels farther away, even though it is layered in front of the other image..

Using a double exposure camera:

Contact Sheet:

Images:

Experimenting with Photoshop:

Inspiration: El Lissitzky

El Lissitzky is a Russian artist, architect, and graphic designer, that was closely involved in the Russian avant-garde movement. His photomontages combine photography, graphic design, and typographic elements to create strong, political layered images.

The Image I used as inspiration:

My Image

Final Images

Chosen Images and Layout

Cindy Sherman

Cynthia Morris Sherman is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters

Cindy Sherman is among the most significant artists of the Pictures Generation to make the art analysed.

In 1972, Sherman enrolled in the visual arts department at Buffalo State University, where she majored in painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing.

her main goal in photography was To portray the various roles and identities of herself and other modern women. Though Sherman is both the woman in front of the lens and behind it, she appears masked through make-up and costume, disguised to resemble familiar female stereotypes; her women are images of women, “models of femininity projected by the media to encourage imitation and identification”

She is adamant that her photos are not self portraits, this may be because they are different identities of her, therefore she may not count this as self portrait as it is not who she is as she is roleplaying a housewife.

image analysis:

Cindy Sherman is trying to adopt the character of a housewife in the kitchen. you can see that she is near kitchen apparatus and wearing an apron. Cindy is staring away from the camera with a dull looking expression on her face. this could because she is looking at someone or something. she is cramped into the side of the photo, which could mean that she’s not important. she is also holding her stomach which could either to make her feel protected if she may be pregnant. The title to this photo is ‘Untitled film still #3’ this could mean that she is so un unimportant therefore the film is too.

• the aperture in Cindys photo is large
• The Shutter speed is fast as the photo is focused as we can see the details.
• The photo has been taken from a low angle. this makes it feel like she’s in the same room as us.
• it is a half body shot which makes her look smaller and less important. it also makes it more intimate as we are closer to her.

Contextual

It was a time where there was many stereotypes in mass media. Historically, media narratives have constrained women to traditional roles, depicting them as caring figures or hostile antagonists. Girls were often portrayed as focusing more on their appearance, as well as being judged for their appearance. Entirely fictitious, these “stills” deftly encapsulate the images of femininity that, through the media culture of movies, had a hold on America’s collective imagination at the time.

This photograph from early in Cindy Sherman’s artistic career indicates a burgeoning interest in what has become a lifelong investigation into using herself as subject. Produced in 1975, during her time as an art student at the State University of New York, Buffalo, the work prefigures her famous Untitled Film Stills series by two years. In it, the artist references Claude Cahun, an early Surrealist photographer whose androgynous self-portraits inspired a later generation of feminist theorists to think about gender as a social role that is performed rather than innate—ideas that would become central to Sherman’s oeuvre from the mid-1970s onward.

Claude Cahun

Claude Cahun, first named Lucy Schwob, was born in 1894 and died in 1954, was a French surrealist artist, photographer, and writer, best known for her exploration of gender, identity, and self-representation. She is recognized as a pioneer in challenging traditional gender norms, often presenting herself in androgynous or ambiguous ways in her self-portraits. Cahun’s work questioned fixed gender roles long before such ideas were widely accepted, making her a significant figure in early feminist and queer art.

Cahun’s connection with Jersey began early, with childhood holidays spent in Jersey and Brittany. They were born Lucy Schwob in Nantes, France to a wealthy Jewish family. But in their late teens and early twenties Cahun had been looking for a new, gender-neutral name for a while. They fixed on the name Claude Cahun in 1918. At that time they was in a same-sex relationship with Suzanne Malherbe, who used the pseudonym Marcel Moore. They had become step siblings in their mid-teens and at some point a closer relationship developed.

Cahun’s goal was to challenge the societal norms surrounding gender and identity. She used self-portraiture as a tool to deconstruct and explore various personalities, often presenting herself in androgynous or fragmented forms. Through costumes, makeup, and props, Cahun blurred the lines between masculinity and femininity, demonstrating that identity is not fixed but rather fluid and performative. Her work aimed to provoke viewers to rethink conventional notions of gender and self-expression.

‘I am training don’t kiss me’ by Claude Cahun

In this photograph, Cahun is sat facing the camera, however her gaze is directed downward, with her face partially obscured by her hands. This creates a sense of mystery and ambiguity.

Cahun’s outfit is simple and androgynous which helps contribute to the blurring of gender boundaries in the image. She wears a loose, neutral outfit, steering away from the traditional feminine dress of the time. this challenges the social norm of what woman would wear back then in the 1920s

The object Cahun holds in her hands is a dumbbell weight, an unexpected item for a female figure during the 1920s, a time when women were often portrayed as delicate and wouldn’t lift weights. The dumbbell symbolizes strength, power, and physicality, which is in stark contrast to the more passive, ornamental role often assigned to women.

on her shirt it says : “I am training – don’t kiss me.” This statement is both a literal and symbolic declaration of independence. It suggests that Cahun is focused on personal growth or training—whether intellectual, artistic, or physical—and rejects traditional romantic or sexual roles.

Studio Lighting Mood Board

What is studio lighting?

Studio lighting in photography involves using artificial lights to shape and control how a subject is lit. This allows photographers to create specific effects, moods, and emphasize details that natural light can’t achieve.

The main components are:

1. Key Light: The main light that highlights your subject.
2. Fill Light: A softer light that reduces harsh shadows from the key light.
3. Back Light: Light behind the subject, adding depth and separation from the background.
4. Background Light: To light up the background and create texture or mood.

Why do we use it?

Studio lighting gives photographers control over how a subject is lit, allowing for specific looks and effects. Unlike natural light, it offers:

1. Control: Consistent lighting regardless of time or weather.
2. Flexibility: Different modifiers create various lighting styles.
3. Creativity: You can highlight details and create moods that natural light can’t.
4. Consistency: Reliable results, important for commercial or portrait work.
5. Detail: It brings out textures and features more clearly.

What is the difference between 1-2-3 point lighting?

1. One-Point Lighting:

• Setup: Just one light
• What it does: Creates strong shadows and a dramatic look, with high contrast.
• When to use: Good for moody or minimalist shots.

2. Two-Point Lighting:

• Setup: Key light + fill light to soften shadows.
• What it does: More balanced lighting, keeping some shadows for depth.
• When to use: Great for flattering portraits or when you want softer light but still some contrast.

3. Three-Point Lighting:

• Setup: Key light + fill light + back light (creates separation from the background).
• What it does: Well-rounded, balanced light with depth and dimension.
• When to use: Ideal for professional portraits or video, giving a natural, detailed look.

The types of lighting we are exploring:

1. Rembrandt Lighting

Rembrandt lighting is a classic portrait lighting style named after the famous painter. It creates a triangle of light on the shadowed side of the face. To set it up:

• Position the light at a 45-degree angle, slightly above the subject.
• This setup casts a shadow on one side of the face and forms a small triangle of light under the eye. It’s often used for dramatic, moody portraits.

Lighting Set Up:

2. Butterfly Lighting

Butterfly lighting is named for the butterfly-shaped shadow it casts under the subject’s nose. To achieve it:

• Place the light directly above the subject’s face.
• The result is a shadow under the nose that looks like a butterfly, with the rest of the face well-lit. This style is popular in beauty and fashion photography because it’s flattering and emphasizes the cheekbones.

Lighting Set Up:

3. Chiaroscuro

Chiaroscuro is a technique where light and dark are used in strong contrast to create depth and drama. It’s a concept from painting but is also used in photography and film. It involves:

• Lighting parts of the subject while leaving other parts in deep shadow.
• The contrast between light and dark adds a sculptural, dramatic feel to the subject. It’s great for creating a strong, artistic look or a mysterious, intense mood, like in noir films.

Lighting Set Up:

In summary:

• Rembrandt Lighting: Creates a triangle of light on one side of the face.
• Butterfly Lighting: Makes a butterfly-shaped shadow under the nose.
• Chiaroscuro: Uses light and shadow contrasts for depth and drama.

What is Fill lighting?

Fill lighting is used in photography or video to brighten up the shadows created by the main light. It helps soften harsh shadows, making the overall lighting more balanced and natural looking.

The idea is to add just enough light to the darker areas without making them too bright, so the image doesn’t look too contrasty. Fill light is usually dimmer than the key (light about half or even less) so it doesn’t overpower the main light.

You can use things like reflectors or even a second light set to a lower power to create fill light. The aim is to make the shadows less intense while keeping the overall look nice and even.

First Photoshoot

Editing

Chiaroscuro Lighting

This image shows chiaroscuro lighting. I achieved this by only having a light source on one side of the image and having a black background to exaggerate the contrast between light and dark.

Here Chanell put her hands in the middle of her face in order to show and exaggerate the clear distinction between the light and dark parts of her face.

Butterfly Lighting

I put the light source high up to create the butterfly shaped shadow under her nose.

Second Photoshoot

Contact Sheet

Butterfly Lighting

Chiaroscuro Lighting

I got her to scrunch her face to convey emotion but also to exaggerate the shadows formed by the lines on her face.

Rembrandt Lighting

Fill Lighting

Experimenting with photoshop

Final Images:

These 3 images include Rembrandt, butterfly and chiaroscuro lighting.

About:

Cynthia Morris Sherman is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters. Cindy Sherman has probed the construction of identity, playing with the visual and cultural codes of art, celebrity, gender, and photography.

She is among the most significant artists of the Pictures Generation — a group that also includes Richard Prince, Louise Lawler, Sherrie Levine, and Robert Longo — who came of age in the 1970s and responded to the mass media landscape surrounding them with both humor and criticism, appropriating images from advertising, film, television, and magazines for their art. At the end of the century, Sherman was the artist who most effectively utilised this source. Her pictures are composed of masks and anatomical models of the body, not unlike the bashed-up dolls by a surrealist pioneer such as Hans Bellmer (1902–1975).

Sherman grew up on Long Island, New York. In 1972 she enrolled at the State University of New York (SUNY) at Buffalo and majored in painting, later switching her major to photography. She graduated from SUNY in 1976 and in 1977 began work on Untitled Film Stills (1977–80), one of her best-known series.

Cindy Sherman’s work is characterized by her use of self-portraiture to create fictional characters and explore themes such as identity, representation, and the construction of femininity to portray the various roles and identities of herself and other modern women.

Her work is mostly consisting of photographic self-portraits. Started when she was only 23, these images rely on female characters (and caricatures) such as the jaded seductress, the unhappy housewife, the jilted lover, and the vulnerable naif. Sexual desire and domination, the fashioning of self-identity as mass deception, these are among the unsettling subjects lying behind Sherman’s extensive series of self-portraiture in various guises. Sherman’s work is central in the era of intense consumerism and image proliferation at the close of the 20th century. Sherman has always been adamant that her photos are not self-portraits.

The seminal series expanded the artistic potential of the photographic medium by using image-making to engage with dialogues of feminist and postmodern theories. In this pseudo-self portrait, Sherman assumes the persona of Claude Cahun, pioneer of self-portraiture and the French surrealist movement.

Image analysis

Visual:

In this image, Cindy Sherman is adopting the role of a housewife in a kitchen, as she is wearing an apron and has cooking supplies beside her it makes it easy to tell this. Sherman’s positioning in the photo makes it look like shes cramped in the frame and she’s looking over her shoulder which could mean that someone else is there or she’s deep in thought. She is holding her stomach and this could be either maternal or trying to protect herself. She looks extremely uncomfortable. Since the title is an ‘Untitled film still’ it suggests that Sherman is trying to show the typical female housewife stereotypes usually portrayed in movies.

Technical:

As the foreground objects are blurred it would suggest that the image was taken with a very large aperture. The subject in the photo is in focus so this could suggest that a fast shutter speed was used, with a balanced exposure. The angle this was taken at a slightly lower angle, this makes the viewer feel like they are amongst the setting and not outside of it. It is a half body shot so it would make it more intimate as the viewer is closer to the subject.

Contextual:

Gender roles are the roles that men and women are expected to occupy based on their sex. Traditionally, many western societies have believed that women are more nurturing than men. Therefore, the traditional view of the feminine gender role prescribes that women should behave in ways that are nurturing. Women were usually excluded and, when mentioned, were usually portrayed in sex stereotypical roles such as wives, mothers, daughters, and mistresses.

Sherman’s ‘Untitled Film Stills’ created a powerful reflection on identity representation and stereotypical femininity.

Conceptual:

Sherman is using selfies to deceive the audience.

Claude Cahun

About:

Claude Cahun was a French photographer and writer associated with the Surrealists. Her work was often in collaboration with her partner Marcel Moore, also an artist, and she is known mostly for her self-portraits which examine and challenge ideas of gender and identity.

Her work left a huge impression on photography and directly influenced contemporary photographers Cindy Sherman, Gillian Wearing, and Nan Goldin.

In early-20th-century France, when society generally considered women to be women and men to be men, Lucy Schwob decided she would rather be called Claude Cahun. It was her way of protesting gender and sexual norms.

In taking the gender-neutral forename Claude and by shaving her head, as she did often in the late 1910s, Cahun actively and outwardly rejected social constructions of gender and sexual identity. Surrealism aims to revolutionise human experience. It balances a rational vision of life with one that asserts the power of the unconscious and dreams. The movement’s artists find magic and strange beauty in the unexpected and the uncanny, the disregarded and the unconventional.

Cahun’s connection with Jersey began early, with childhood holidays spent in Jersey and Brittany. They were born Lucy Schwob in Nantes, France to a wealthy Jewish family. But in their late teens and early twenties Cahun had been looking for a new, gender-neutral name for a while.

Image analysis

Visual:

In the image, it is a self-portrait of Claude Cahun. She is sat with her legs crossed and her gaze is staring directly at the camera. She is wearing black shorts, pale tights and top emblazoned ‘I am in training Don’t kiss me’, sitting with her right leg over her left, a heart on her thigh, spherical weights to right and left. On the weights, they have the names of comic heroes on it ‘Totor and Popol’.

Contextual:

Women were expected to roll up their sleeves and keep their homes and families running smoothly – and on a budget. Women without a family – either by choice or by circumstance – were often overlooked.There were more job opportunities for women in the 1920s and 1930s due to better education. Many women found work as clerks, teachers and nurses. The nature of industries changed and new types of work emerged. Many women found work in the new light industries e.g. making electrical goods. British society remained intensely gender and class ridden throughout the 1920s. Women had only slowly, and prosaically, gained political rights in the 1920s and secured little in the way of equality of opportunity in employment and education.

Conceptual:

Through an exploration of the multiplicities of gender, works such as the self-portrait from their series I am in Training Don’t Kiss Me (1927) declare that Cahun’s gender is both allowed to be on public display while simultaneously not to be objectified and exoticized by the male gaze. ‘I am in training, don’t kiss me’ refers to a provocative phrase that embodies the surrealist movement’s emphasis on challenging norms and expectations in society and art.