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.