Cindy Sherman

Who is she ?

Sherman tends to stay away from theoretical discussions, but people often categorize her work as feminist. A key focus of her art is challenging common stereotypes about women. By taking photos of herself in different scenarios, she highlights how women are often objectified.

Initially, while studying at art school and influenced by the wave of American Feminism, Sherman focused on super-realistic painting. However, by the late 1970s, she shifted her attention to photography to delve into various typical female social roles and identities.

Cindy Sherman is known for her unique approach to art, where she uses self-portraits to invent fictional characters. Through her work, she dives into important topics like identity, how people are represented, and what femininity really means.

Cindy Sherman explores some pretty intense themes in her self-portraits, like sexual desire and the idea of control, along with how we create our identities through deception. Her art really reflects the overwhelming consumer culture and the explosion of images that defined the late 20th century.

While she was in college, she found her love for photography and started trying out self-portraits, which would eventually shape her career. By dressing up, posing, and taking pictures of herself in various situations, Sherman skilfully comments on how women are represented in mainstream media.

Some of her photos

Image Analysis

Visual – In this photo the character is Cindy Sherman, she is possibly portraying a housewife. she is on the right third of this image, she appears trapped or cramped in the small apartment kitchen. She is looking over her shoulder as if something is taking her attention. Her left arm is fully extended onto the counter, furthermore her right arm is across her stomach as if she’s on guard. In the image is dishes and other kitchen appliances which take up more space in the image than she does which could show that they are more important than her and it could hint at the stereotype of women at the time.

Technical – The aperture is likely wide aperture and a shallow depth of field as the foreground is blurred. The shutter speed is to be faster due to the subject being fully in focus with a balanced exposure. The angle was taken from roughly waist height which makes her seem taller, it also makes the view seem like they are part of the setting and up close with her.-

Contextual – Historically women where seen as house wife’s or kitchen maids, this is shown by the image. Sherman casts herself in various stereotypical female roles inspired by 1950s and 1960s films. They represent clichés or feminine types.

Conceptual – Overall, Cindy is using selfies to show she can deceive everyone and can be who she’s wants to be. Furthermore challenging mass media. This also relates to the current culture of phones and media.

Second Artist Analysis

Claude Cahun

Who is she?

Claude Cahun, originally named Lucy Renee Mathilde Schwob, was a French artist born on October 25, 1894, and she passed away on December 8, 1954. She was known for her work as a surrealist photographer, sculptor, and writer. In 1914, she chose the name Claude Cahun as her pseudonym. Cahun gained recognition for her writing and her unique self-portraits, where she often took on different performative identities.

Some of her photos

Image Analysis

Technical – The lighting in this image is likely to be natural lighting, this is because the setting is quite dark and there isn’t any obvious artificial light sources. The aperture is likely to be low, something like f/1.8 or f/2 with a shallow depth of field, I think this because the background seems to be out of focus and the subject seems to be the only thing in focus. Moreover the shutter speed is probably fast, something 200 or above, I think this because the subject is in focus and the image is rather dark which could be caused by a fast shutter speed. Finally the ISO is likely to be quite high, something 800 or above, this is because I can see visual noise within the image.

Visual – There is little colour in this image, it is all black and white which creates a nice contrast between the subject and the background. there id little outstanding or obvious texture in this image, The subjects skin is pretty smooth with only some texture apparent on the back of the head. There is a decent amount of negative space which probably equals nearly half the image, however it does not take the focus away from the subject.

Contextual – This image was taken in the early 1930s and was in Western Europe. In this image she shaved her head due to the fact that she was trans gender and identified as a man, furthermore it also alludes to the war how the Nazis as she was Jewish.

Conceptual – She could be alluding to the concentration camps with the shaved head, furthermore her back turned could means she’s trying to make it harder for the view to distinguish if its a woman or a man. Finally the tank top she’s wearing is typically men’s clothing, meaning she is further trying to resemble a man.

She is among the most significant artists of the Pictures Generation, responding to the mass media landscape surrounding them with both humor and criticism, appropriating images from advertising.

At first painting in a super-realist style in art school during the aftermath of American Feminism, Sherman turned to photography toward the end of the 1970s in order to explore a wide range of common female social roles, or personas.

What was the purpose of Cindy Sherman’s photography? To portray the various roles and identities of herself and other modern women. Influenced by a previous generation of performance artists, Sherman developed a fascination for disguise, a fascination that had been with her since childhood, now in encounter with her own camera.

She meticulously constructs her photographs, controlling every aspect of the image, including makeup, costumes, lighting, and settings. Through her elaborate and often satirical transformations, Sherman encourages viewers to question societal norms and expectations, particularly those imposed on women.

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.

Image Analysis

Shows an photo of a woman dressed in a type of evening and seems to going somewhere important. Likely to have a narrow aperture and longer depth of field to show the smoke and her dress. The subject looks to be set in some type of living room or kitchen but it is uncertain to the limited visuals shown in which is a very eery scene in where much things seem to be disturbed and uncertain. I think before the photo was taken, there was some type of action, what makes me to believe this is that the person seems to be quite protective and startled, with her hiding the side of her neck and holding what seems to be a evening bag but with a very similar shape to some type of knife. In the background there is a mirror, in which shows her back and the vulnerability she has.

The mirror shows what looks to be a cloud of smoke but also in the foreground, telling us that she isn’t alone and that someone could potentially be smoking in the room as well. The frame of the photo also makes it so there is a sense of unknown and that there could be many factors that take place in the story of it. The reflections of a cocktail glass and a jacket slung over a chair, hint at a second, troublingly absent figure, who’s next move we can only imagine.

This suspense feels second-hand because elements like Sherman’s black dress and the pearl-clutching gesture remind us of horror and melodrama films from the 1950s and early ’60s, where women were often shown as victims or sex objects. Sherman hints at these old tropes but also pushes back against them. Her character holds a knife-shaped object in her right hand, maybe even challenging the idea of victimhood that the scene brings to mind. She’s caught between a nostalgic view of women as passive icons and the possibility of feminist empowerment. Film theory often looks at Sherman’s work, especially how it plays with genre and critiques the limiting male gaze in cinema.

Claude Cahun

Cindy Sherman and Claude Cahun both use photography to explore identity and challenge ideas about gender. They take self-portraits, changing their appearance to show that identity isn’t fixed. Cahun’s photos often used disguises to blur gender lines, questioning how society sees men and women. Sherman did something similar in her “Untitled Film Stills,” where she plays different female characters and challenges how women are usually shown in movies. Both artists use costumes and changes in appearance to make us think about how society defines gender and identity. While Cahun worked first, Sherman’s art is often compared to hers for exploring the same ideas.

Claude Cahun was a French artist and writer, known for her unique self-portraits that played with gender and identity. She often dressed up in different costumes and poses, blurring the lines between genders and questioning traditional ideas about who we are. Her work focused on the idea that identity isn’t fixed, it’s fluid and can change. Cahun was part of the surrealist movement and worked closely with her partner, Marcel Moore. She explored themes of gender, sexuality, and self-expression long before these topics became popular in the art world. Besides her photos, Cahun also wrote poems and essays about identity and society. While her work wasn’t widely recognized during her life, it has gained a lot of attention in recent years.

Claude Cahun was born as Lucy Schwob on October 25, 1894, in Nantes, France. She later adopted the name Claude Cahun as part of her artistic and gender identity exploration.

Claude Cahun’s work challenged traditional ideas about identity, gender, and self-expression. Through surreal self-portraits, she blurred the lines between male and female, exploring themes of transformation and ambiguity. Cahun sought to break free from societal expectations and fixed roles, particularly for women, promoting personal freedom and empowering people to question rigid norms.

She achieved this by photographing herself in different costumes, mixing masculine and feminine looks to show that gender isn’t fixed. Her work highlighted the fluidity of identity and encouraged people to question societal labels and embrace more open expressions of gender and self.

Cahun also had a strong connection to Jersey, where she and her partner, Marcel Moore, moved in 1937 to escape fascism. During WWII, they joined the resistance against the German occupation, using art and writing to defy the Nazis. Cahun lived in Jersey until her death in 1954, and today the island honors her legacy with exhibitions and a museum dedicated to her work.

She is regarded as one of the leading figures of the Pictures Generation, a collective that includes distinguished artists such as Richard Prince, Louise Lawler, Sherrie Levine, and Robert Longo. This group emerged in the 1970s, responding to the dominant mass media landscape by employing humour and critique while appropriating imagery from advertising. In 1972, Sherman began her studies in the visual arts department at Buffalo State University, where she concentrated on painting. It was during this time that she started to explore themes that would later become central to her artistic persona: she dressed in various characters, utilizing clothing obtained from thrift stores. Her work aims to challenge mass media on gender norms. Sherman carefully crafts her photographs, controlling every aspect of the image, including makeup, costumes, lighting, and settings. Through her elaborate modifications, she encourages viewers to question societal norms and expectations, particularly those imposed on women. In a 1990 interview with The New York Times, she expressed, “I see myself as anonymous in my work. When I look at the photographs, I do not recognize myself; they do not function as self-portraits.”

Some of her Work

Image Analysis

Woman in the image has dark hair and wearing evening clothes, as if she’s about to go out. She is Holding her neck with a rather startled expression and her other hand is holding what seems to look like a knife. In the mirror we can see her back which exposes herself making herself vulnerable as people can see what she cannot. There is also a table in-between her and the photographer, potentially acting as a barrier which can also back up the point regarding the feeling of vulnerability.

Smoke that is seen in the mirror at the back suggests that someone else is present. We can make an assumption that this picture is based in her home as there is a picture of her sitting on the furniture in the background The aperture is more likely to be lower so that the audience can see the closer details.

Furthermore there could be a bruise on her arm which would explain her expression of discomfort and vulnerability.

In this image we get a full body shot and we get to see the back of her. This makes the subject seem very exposed.

She is criticising films as they portray women to be distressed at the time and seen to be helpless when in reality they are not

What is identity?

Identity is the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity emerges during childhood as children start to comprehend their self-concept, and it remains a consistent aspect throughout different stages of life.

What is femininity?

Femininity (also called womanliness) is a set of attributes, behaviors, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviors considered feminine are influenced by both cultural factors and biological factors.

What is masculinity?

Masculinity involves displaying attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women. Traits traditionally viewed as masculine in Western society include strength, courage, independence, leadership, and assertiveness.

How can Identity be affected?

Identity can be affected in lots of different ways, for example:

Gender Identity:

Gender identity is defined as a personal and internal sense of oneself as male, female, or other. Gender expression is defined as the way in which an individual publicly expresses their gender, for example, through aspects such as clothing, hair, makeup, and body language.

Cultural Identity:

Cultural identity refers to an individual’s sense of belonging and connection to a particular cultural group or community encompassing the shared values, traditions, customs, language, beliefs, and behavioral norms that define and distinguish a specific cultural or ethnic group.

Social Identity:

Social identity refers to people’s self-categorizations in relation to their group memberships (the “we”). These categorisations are often assigned to us or something we are born into.

Geographical Identity:

Geographical identity refers to an individual or group’s sense of attachment to the country, region, city, or village in which they live.

Political Identity:

Political identity is how a person or group of persons think of themselves in relation to the politics and government of a country. Everything that makes up our sense of self are components of our political identity. This includes our ethnicity, religion, gender, class, ideology, nationality and even our age and generation.

Lack of/ Loss of Identity:

Loss of identity may follow all sorts of change; changes in the workplace, loss of a job or profession, loss of a role that once defined us, as a child, as a parent, as a spouse, as an employee. This leaves a gap, an abyss, an empty space.

Stereotypes:

A stereotype is a fixed general image or set of characteristics that a lot of people believe represent a particular type of person or thing.

Prejudices:

Prejudices is a favoring or dislike of something without good reason, unfriendly feelings directed against an individual, a group, or a race. prejudice.

CLAUDE CAHUN

– ARTIST REFRENCE –

Born: October 25, 1894, Nantes, France

Died: December 8, 1954 (age 60 years), Saint Helier

Their Work

Claude Cahun was best known for her experimental self portraiture although she often collaborated with Marcle Moore (Born: July 19, 1892, Nantes, France Died: February 19, 1972 (age 79 years), Jersey ) , her partner , step siblings , and romantic lovers.

Cahun enjoyed using different mediums in her work , using multiple symbols and messages in each portrait.

“You should discover, handle, tame, make irrational objects yourself.”

– Claude Cahun

Both Marcle Moore and Claude Cahun changed their gender affirming birth given name to a gender neutral ambiguous alternative title , representing their identity of being non conformist surrealist.

Claude was born  Lucy Renee Mathilde Schwob

Marcle was born  Suzanne Malherbe 

GOALS AND METHODS OF ACHIEVEMENT

Examples

VISUAL

1. Who is in the image? Claude Cahun
2. How are they posed? Hands behind their back tilted to the side , feet pointed to the side theyre leaning towards.
3. Where is their gaze pointed? Directly at the camera
4. What are they wearing? Long dress with cross stitching , and simple pattern , also wearing some kind of wig and over done makeup

TECHNICAL

• Lighting – Do you think this uses artificial or natural lighting? Could be either artificial or natural , projected straight onto the subject from behind the camera and possibly above aswell maybe butterfly lighting
• How does the lighting accentuate the figure? Makes the figure apear more lit than the background giving the impression of importance and status highlighting the subject drawing focus to it.
• Aperture – Does this image have a soft or sharp focus background? The image background is slightly blurred but still easily depictable
• What could this tell us about the aperture? Most likely around f/8
• Angle – What angle has the photo been taken at? Directly in front of the subject from slightly lower down but not on the ground the angle however is not tilted up and is deadpan
• What does this contribute? Makes the subject appear a higher satus of importance and present Cahun or rather the character shes playing as strong and confident
• Is it a full body shot / half body shot / three-quarter body shot? Full body shot

CONTEXTUAL

• Refrences the role of women in 1930s
• Relates to an old fable of Bluebeard and she is dressed as Elle
• “After lavishly entertaining a group of ladies, the youngest daughter of a noble lady decides to marry him. He gives his wife a set of keys to all the treasures in the house, commanding her not to use the smallest key, and leaves for business. She discovers his murdered wives after her curiosity gets the best of her.” – a brief summary of the tale of Blue beard

CONCEPTUAL

• How does Cahun’s work react to the role of women / gender in the 20s and 30s? – although many believe the tale of blue beard is a cautionary one to warn women to obey their husbands i believe Claude Cahun used it to give the message that women should not unquestioningly conform to and follow patriarchal expectations/rules as they do not ensure safety and comfort like the are promoted to

Who

Claude Cahun was a French surrealist artist and photographer, born Lucy Schwob in 1894. She adopted a gender-neutral name and used her art to challenge and defy traditional gender roles and norms. Cahun’s work was deeply introspective and often explored themes of identity, gender fluidity, and the subconscious.

What

Cahun is renowned for her surrealist self-portraits and experimental photography. Her work often involved blending her image with various props, settings, and imaginative elements to create thought-provoking compositions. She also engaged in writing and sculpture, contributing to her multifaceted artistic expression.

When

Most of her significant work was created during the 1920s and 1930s, a period marked by artistic experimentation and the rise of surrealism. Cahun continued her artistic pursuits into the 1940s and even during World War II, maintaining her creative output despite the challenges of the time.

Where

Cahun’s artistic journey began in Paris, where she became involved in the Surrealist movement and collaborated with other avant-garde artists. During World War II, she moved to Jersey with her partner, Marcel Moore, where they continued their creative work and engaged in resistance activities against the Nazi occupation.

How

Cahun utilised innovative photographic techniques such as multi-exposure, solarisation, and surreal compositions to explore and challenge traditional concepts of gender and identity. Her self-portraits often featured dreamlike and fantastical elements, creating a unique and impactful visual style that stood out in the art world.

Why

Cahun’s work aimed to question and defy societal norms, particularly around gender and identity. Through her art, she sought to express her unique perspective and challenge conventional ideas, making a lasting impact on the world of art and photography. Her work continues to inspire and provoke discussions around these themes, cementing her legacy as a pioneering figure in both surrealist art and LGBTQ+ history.

World War II activism

In 1937, Claude Cahun and Marcel Moore moved to Jersey. When Germany occupied Jersey during World War II, they became active in the resistance, creating anti-German fliers. These fliers often included translated BBC reports on Nazi crime, arranged into rhythmic poems and harsh criticisms. Using the pseudonym ” The Soldier With No Name,” they aimed to deceive German soldiers into thinking there was a conspiracy among the troops. They secretly distributed the fliers at military events and in carious places for soldiers to find.

On one occasion, they hung a banner in a church saying, “Jesus is great, but Hitler is greater – because Jesus died for people, but people die for Hitler.” Their resistance efforts combined political activism with artistic creativity, using dark humour to undermine authority. In 1044, Cahun and Moore were arrested and sentenced to death, but the sentence was never carries out as Jersey was liberated in 1945. Cahun’s health suffered from their imprisonment, and they died in 1954. At their trial, Cahun famously told the German judge they would need to be shot twice as they were both a resister and a Jew, which reportedly led to laughter in the court and may have spared them from excecution.

Social Critique and Legacy

Claude Cahun created art for herself and did not seek fame. Her work remained largely unrecognized until 40 years after her death. Cahun’s life was marked by actions that defied convention, challenging public notions of gender, beauty, and logic. Her art aimed to unsettle viewers’ understanding of photography as a mere documentation of reality.

Her poetry challenged gender roles and criticised the social and economic boundaries of the modern world. In the Parisian Surrealist group, Cahun introduced new, diverse representations, contrasting with the male-dominated view of women as symbols of eroticism. Instead, she presented a gender non-conforming, chameleonic figure. Cahun’s photographs, writings, and revolutionary lifestyle continue to influence artists today.

Marcel Moore

Marcel Moore, born Suzanne Alberte Malherbe, was a French illustrator, designer, and photographer. She was Claude Cahun’s romantic and creative partner, and they were also step-siblings. Their parents married each other after their respective divorces, making them stepsisters before they fell in love as teenagers. Together, they formed a powerful artistic duo. Moore and Cahun collaborated on numerous projects, with Moore often assisting in the creation of Cahun’s iconic self-portraits and other works. Their relationship was not only personal but also deeply intertwined with their art, making them a significant force in the surrealist movement.

Religious Background, Gender and Cahun’s mother

Claude Cahun was raised in a wealthy, interfaith family with strong Jewish roots from their father’s side. Their mother, Mary-Antoinette Courbebaisse, suffered from severe mental illness and was eventually institutionalized, which left Cahun to be primarily raised by their grandmother. This challenging family dynamic contributed to Cahun’s sense of being an outsider and influenced their work, as they used art to challenge societal norms and explore themes of identity and gender fluidity.

During the early 20th century, society had rigid and conservative views on gender, with strict expectations for men and women. Cahun defied these norms by presenting themselves in androgynous and ambiguous ways in their self-portraits, using costumes, makeup, and props to blur the lines between male and female.

Image analysis

“I am in training dont kiss me”

The statement on Claude Cahun’s shirt, “I am in training dont kiss me,” is a powerful and provocative declaration that encapsulates her radical approach to gender and identity. By wearing this inscription, Cahun subverts traditional gender expectations and societal norms. The phrase “I am in training” suggests a process of self-discovery and transformation, indicating that identity is not fixed but rather fluid and evolving. The command “dont kiss me” rejects conventional female passivity and objectification, asserting autonomy and control over her own body and identity. This defiant message aligns with Cahun’s broader artistic and philosophical exploration of gender ambiguity and self representation, challenging binary notions of male and female embracing a more nuanced, multifaceted understanding of self. Through this visual and textual statement, Cahun invites viewers to reconsider their assumptions about gender and identity, foregrounding the performative and constructed nature of both. This is exceptionally striking as during the early 20th century there were strong stereotypical gender roles and expectations, and Claude Cahun and their work totally contradicts these societal norms and that is why they are extremely inspirational and inspiring as an artist.

Emotional Response

Cahun’s “Behind the mask another mask” portrait evokes a complex array of emotions. The image elicits a sense of intrigue and introspection, compelling viewers to contemplate the layers of identity and self-perception. The solemn expression and the direct gaze of the subject create an intense connection, while the mask motif adds an element of mystery and ambiguity, prompting reflections on the nature of appearance and reality.

Mise en Scene

The photograph features a close-up of Claude Cahun, adorned with a mask. The mask itself is a focal point, symbolizing the theme of duality and the concealed aspects of the self. The subject’s head is slightly tilted, and the background is nondescript, ensuring all attention is drawn to the intricate details of the face and mask.

Visual Aspects

The composition of the portrait is tightly framed, focusing on the subject’s face and the mask. The stark contrast between light and shadow highlights the contours of Cahun’s features and the mask, adding depth and drama. The visual elements include sharp lines and defined textures, creating a visually striking image that captures the viewer’s attention.

Technical Aspects

The portrait was likely taken using a large-format camera, which was common during Cahun’s time. The high contrast and sharpness suggest careful control of lighting and exposure. The photograph might have been developed using traditional darkroom techniques, which allowed for precise manipulation of contrast and detail.

Conceptual Aspects

Conceptually, the image explores themes of identity, performance, and the fluidity of self. The mask serves as a metaphor for the multifaceted nature of personal identity and the societal roles individuals play. Cahun’s work often delved into gender and identity politics, challenging conventional norms and encouraging viewers to question their perceptions.

Contextual Aspects

Claude Cahun was active during the early 20th century, a period marked by significant social and political upheaval. The photograph reflects the avant-garde artistic movements of the time, particularly Surrealism, which sought to explore the unconscious mind and challenge traditional representations. Cahun’s work was also influenced by the burgeoning feminist discourse and the questioning of gender binaries, making this portrait a significant commentary on the evolving notions of self and society during that era.

Gillian Wearing

Gillian Wearing is a British conceptual artist, born on December 10, 1963, in Birmingham, England. She is known for her thought-provoking works that explore themes of identity, memory, and the boundaries between public and private life. Wearing gained recognition as one of the Young British Artists (YBAs) and won the prestigious Turner Prize in 1997. Her work often involves engaging with strangers and inviting them to express themselves through signs or masks, blurring the lines between reality and fiction1.

Wearing was inspired by Claude Cahun’s work because of its exploration of identity and gender fluidity. She discovered Cahun’s photographs in the mid-1990s and felt a strong connection to the playful yet profound way Cahun used masks and self-portraiture to question societal norms. This inspiration led Wearing to create her own version of Cahun’s “Behind the mask, another mask,” reflecting her ongoing interest in the performative aspects of identity and the layers of self that we present to the world

Gillian Wearing’s version of Claude Cahun’s “Behind this mask, another mask” is a fascinating exploration of self identity and artistic homage. In her 2012 self portrait titled “Me and Cahun holding a mask of my face,” Wearing reconstructs Cahun’s iconic 1927 self portrait, creating a powerful dialogue between the two artists across time. Wearing’s interpretation not only pays tribute to Cahun’s pioneering work but also reflects her won ongoing exploration of identity, gender, and masquerade. By holding a mask of her own face, Wearing emphasises the performative aspects of identity and the layers of self that we present to the world. This act of mirroring and reimaging Cahun’s work highlights the enduring relevance of Cahun’s themes and the continuity of artistic inquiry into the nature of selfhood.

Claude Cahun was born October 25th 1894 in France and passed away December 8th 1954 in the Jersey Channel Islands, Claude was a French artist known for their surreal self-portraits and exploration of gender identity. They challenged traditional ideas of gender, often presenting themselves as both masculine and feminine or somewhere in between. Their photos featured costumes, masks, and striking poses, experimenting with ideas of identity and self-expression.

Claude was also part of the anti-Nazi resistance during World War II, they created anti-German propaganda with their romantical partner, Marcel Moore who was there step sister/siblings. Though their work was mostly forgotten after their death, it was rediscovered in the 1980s and is now seen as a key influence in queer art and gender theory not just in Jersey but around the world.

Claude Cahuns birth name was Lucy Renée Mathilde Schwob, they later adopted the name Claude Cahun to reflect their rejection of gender norms, as “Claude” is a gender-neutral name in French. Claude Cahuns birth name was Lucy Renée Mathilde Schwob, they later adopted the name Claude Cahun to reflect their rejection of gender norms, as “Claude” is a gender-neutral name in French.

Claude’s work was made in order to break gender normality’s showing it could be fluid and ever-changing, it was self expression and a rebellion to the do’s and don’ts not just against gender norms, but also against authority and oppression, they also made some pieces to resist the Nazis during World War II as there partner Marcel Moore was trying to resist the Nazi occupation, it was done with the hope of inspiring others to think freely about who they are and what they stand for.

To do this Claude used self-portraits to challenge ideas about identity and gender. They dressed up in costumes, masks, and bold poses, combining masculine and feminine looks in order to show that identity isn’t fixed at birth.

By constantly changing their appearance, Claude sent a message that who we are isn’t set in stone. Their photos did end up encouraging loads of people globally to question social norms and see identity as something they should and could create for themselves.

This is a satellite photo of Jersey Channel Islands

Claude lived on the island of Jersey during World War II with their partner Marcel Moore. They joined the anti-Nazi resistance, creating secret leaflets to mock and discourage German soldiers.

Claude and Moore were arrested and sentenced to death but were freed when the war ended. Today, they are remembered on Jersey for their bravery and resistance against the Nazis.

This is a piece by Claude Cahun called “Me Myself and I”

**Simple Analysis of Claude Cahun’s “Me, Myself and I” **

Claude Cahun’s “Me, Myself and I” explores identity as fluid and ever-changing. Instead of presenting a single, fixed self, Cahun portrays the self as multiple, complex, and shifting. This directly challenges traditional ideas of gender and personal identity.

Key Themes

1. Multiplicity of Self: The title suggests that “self” isn’t singular. Cahun shows different versions of themselves, reflecting how identity is layered and changeable.
2. Gender Fluidity: Cahun rejected fixed gender roles, often presenting as both masculine and feminine—or neither. They famously said, “Neuter is the only gender that always suits me.”
3. Surrealist Aesthetic: Cahun used costumes, props, and masks to question reality and identity. This links to surrealist ideas about the subconscious and dreams.
4. Self as Performance: Like wearing costumes on a stage, Cahun shows that identity is something we “perform” rather than something fixed or natural.

Cahun’s work remains influential today, inspiring modern ideas about gender fluidity, drag culture, and self-expression in art​

Claude Cahun was born in 1894 and died in 1954. The was multifaceted – a French photographer, sculptor and writer. She is widely famous for her unique, revolutionary and rebellious self portraits that embody personas like weightlifter, aviator, and doll. In 1937 she moved to the island of Jersey with her stepsister and lover – Marcel Moore. She joined the resistance against Nazi Germanys forces during the islands occupation, and was imprisoned and sentenced to death in 1944 – however, the Germans never carried out the sentencing for fear of public outcry, so she narrowly survived. Many of her pieces and photos were seized and destroyed when the Nazis seized her home. The Jersey National trust holds the surviving collection of her art. Her health delined due to the imprisonment and she died in 1954 – her stepsister and parter commited suicide in 1972 – both are buried in St Brelades churchyard.

Her work wasn’t well known at the time – and it might’ve often been ridiculed, she was a cross gender person – and all her pieces challenged gender norms and general societal standards for photography and gender conventions. She used her androgynous look to her advantage by shaving her head and using this to create a sense of confusion and gender neutral appearances – this was almost never before seen.

IMAGE ANALYSIS

The mise-en-scene presents a multi-exposure image of Claude Cahun with a very androgynous, shaved, gender neutral appearance in two different positions – almost looking at each other. The background is dark and chalky. There are no clothes visible. The composition is central, the two faces being on either side of the centre, and the photo is well balanced.

She once explained: “Under this mask, another mask; I will never finish removing all these faces.” This quote may lead me to believe that these two faces may represent different masks – despite them looking the same – therefore it could be linked to some sort of differing emotion, or mood. There is a deep personal tension in the photo – and the name of the photo: Que Me Vas Tu? (What do you want from me) could indicate that the two headed creature present in the image is some sort of metaphor for a splitting of identities. In her case she is presenting herself as gender neutral as there are no clear characteristics between male and female.

The photo is clearly taken on a film camera – as was the only method of the time. And has a high level of grain. There is a harsh contrast and the eyes are almost a solid black. Similarly, the whites are a sharp and crisp solid white, with not much texture in the lighting. The background however is rich in texture and almost appears to be some sort of chalk board or similar.

I believe in this image she could be trying to make a statement on some sort of duality – for example, the duality of personalities of identities, the duality of male vs female. This is backed up by other things in the image like the duality of the black background against the harsh white skin (binary opposition).

WWII Activism

During WWII, Claude Cahun and her partner Marcel Moore did some really brave resistance work against the Nazis who occupied Jersey. They used their artistic and writing skills to fight back by creating anti-Nazi leaflets. What’s really cool is that they wrote the messages in German so the soldiers could read them, and they left them in sneaky places like soldiers’ pockets or around the island. This made it seem like there was a big underground movement, even though it was just the two of them.

Eventually, though, the Nazis figured out what they were doing, and in 1944, Cahun and Moore were arrested. They were sentenced to death, but luckily the sentence wasn’t carried out. Still, they were thrown in prison, and the experience really messed up Cahun’s health. Even though their resistance wasn’t super well-known at the time, what they did was super inspiring. It shows how creative resistance can be really powerful, even if it’s just a small group of people standing up to something so terrible.

What’s really inspiring about Cahun and Moore’s resistance is how creative and fearless they were, even though they were basically on their own. They didn’t just sit back and accept what was happening—they took real risks to stand up to the Nazis. It wasn’t just about passing out leaflets either; their messages were psychological warfare. They wanted to make the soldiers question what they were doing, and that’s such a smart and unique way to resist. They didn’t have weapons or an army, but they had their words and ideas, and they used them to fight back. It’s honestly amazing that two people could cause so much trouble for the occupiers with just some paper and a lot of courage.

Cindy Sherman

Biography: Claude was born on 25th of October in 1894 in Nantes in France. She died on the 8th of December in1954 in Jersey channel islands.

Claude Cahun worked with and was dating her step sister Marcel Moore.

Cahun was sentenced to death as a punishment in 1954 for undermining the German forces and then her lover/step sister killed herself in 1972.

Cahun was championing the idea of gender fluidity way before the hashtags of today.  She was exploring her identity, not defining it. 

Claude Cahun mostly referred to herself with grammatically feminine words, but she also said that her actual gender was fluid. For example, in disavowals, Claude Cahun writes: “Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.” Claude Cahun is most well known for her androgynous appearance, which challenged the strict gender roles of her time.

Claude showed her gender through her photographs, these are some examples of that.

Claude used her photography skills to show of and share her sexuality and gender. Cahun was championing the idea of gender fluidity way before the hashtags of today.  She was exploring her identity, not defining it. 

Creative Portraits are photos which focuses on both the surroundings of the photo as well as the person in the photo. Its a excellent way to depict a lot of information of a person just from looking at a single photo. Creative Portraits usually consist of images and other elements being combined to create unique images. There is many styles you can use in Creative Portraits which can help make your images look more creative and unique.

Double/Multi-Exposure

Double or Multi-Exposure is the process of layering a portion of images on top each other to create illusions. This can be done by either using a camera and adjusting the settings in order to take these multi-layered images or you can take multiple photos in the same place but different poses and then layer them on top of each other using photoshop.

By layering the photos it can result into some spectacular photos being created as there is many different ways you can layer out the photos to achieve the effect and look that you want. For example you can place the images very close together to make that blur effect or space them out evenly or away to create that ghost effect.

Photo Montage

Photomontage is the process of taking and gathering images and then editing them together mainly by cutting, gluing, rearranging or overlapping two or more together to make it into a new image. However Photomontage doesn’t have to be done physically, you can use editing programs like photoshop to edit your images in the style of photomontage like cutting pieces of the image and rearranging them or rotating them. As long as your edits fit the style of Photomontage then it can be done digitally.

This style is very popular and it was famously used to make political images. A Good example would be Russian Constructivism where many people created posters using Photo-Montage by using a solid background and a main subject for their images with usually a message written on it to get their point across.

Artist References

For my Double/Multi-Exposure I have chosen Man Ray as my inspiration as I like the poses that his subjects use in the photos as well as how he positions the subject to make the double exposure look unique and interesting which is something I want to replicate myself with my own ideas.

For my Photo Montage I have chosen Kensuoke Koike as my inspiration as I found it really interesting how he reconstructed the image in a way where it looked odd but appealing, most of the images are cut then reformed into different shapes and patterns which made it look more alluring to look at which is why I want to also replicate his photos and try achieve the same effect that his photos have.

My Photos

Double/Multi-Exposure

With my Double/Multi-Exposure images, I have been able to match the same style as Man Ray but with my own ideas, For the first image I told my subject to have a sinister look while also using a red colour gel to portray the red side as an evil while for the other side using a blue colour gel I got my subject to maintain that same position but to smile instead to show that the blue side is more of a happy/positive side. In the end it created a really interesting and funny image where you can see both sides of the Double Exposure perfectly. For the second image I tried to replicate that same idea but differently, I got my subject to make an angry expression like he was yelling with the red colour gel inserted to show the anger in his face while with the other side using the blue colour gel I got him to tilt the other way while making a happy and carefree expression which in the end resulted into another image I am quite proud of.

Photo Montage

With my Photo Montage images, I wanted to try replicate that same style that Kensuke Koike used with the shapes and patterns, so using photoshop I was able to find some shape and pattern templates and I ended up overlaying them on top of the image so I was able to cut out pieces of the image and rearrange them into unique patterns. In the end result it made for some very interesting and creative images with the first image being square pieces of his face flipped which worked out well thanks to the colour gel lighting in the image and with the second image being cut out triangle pieces of his face being rearranged in a way that ended up making it resemble the Rhombus shape.