Diversity Reading List

Comment: This text offers a great introduction to the topic of portraiture and an overview of the subject. It can also be useful in a wider context of depiction and representation.

Artworks to use with this text:

Jan Van Eyck, Madonna With Chancellor Rolin (1433) vs Rogier van der Weyden, The Donor, Chancellor Rolin, Kneeling in Prayer; from the reverse of Last Judgment Polyptych (1445)

A comparison of these two paintings reveals how likenesses are always mediated by the varying functions of portraits and the distinct styles of the artists.

Angelica Kauffmann, Portrait of J.W. Goethe (1787-8)

For women artists such as Kauffmann the control of the gaze during sessions with male sitters could be socially uncomfortable but empowering. This text offers a great introduction to the topic of portraiture and an overview of the subject. It can also be useful in a wider context of depiction and representation.

Artworks to use with this text:

Jan Van Eyck, Madonna With Chancellor Rolin (1433) vs Rogier van der Weyden, The Donor, Chancellor Rolin, Kneeling in Prayer; from the reverse of Last Judgment Polyptych (1445)

A comparison of these two paintings reveals how likenesses are always mediated by the varying functions of portraits and the distinct styles of the artists.

Angelica Kauffmann, Portrait of J.W. Goethe (1787-8)

For women artists such as Kauffmann the control of the gaze during sessions with male sitters could be socially uncomfortable but empowering.

Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Lyle Ashton Harris, Construct #10 (collection of the artist, 1988)

Harris's self-portraits are redemptive and liberatory in their focus on the self. They challenge standard discourse on identity and subjectivity to present a new sign of black power and liberation. Because his photographs expose gender as constructed and performed, they also, in the process, subvert phallocentrism and compulsory heterosexuality. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Lyle Ashton Harris, Construct #10 (collection of the artist, 1988)

Harris's self-portraits are redemptive and liberatory in their focus on the self. They challenge standard discourse on identity and subjectivity to present a new sign of black power and liberation. Because his photographs expose gender as constructed and performed, they also, in the process, subvert phallocentrism and compulsory heterosexuality.

Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Del LaGrace Volcano, Herm Body (2011- )

Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Del LaGrace Volcano, Herm Body (2011- )

Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment.

Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Doug Auld, Shayla (2005) Portrait of a black woman with significant burn scars

Compared and contrasted with Gilbert Stuart's portrait of George Washington (1810).

Sasha Newley, Christopher Reeve (2004)

Juxtaposed with earlier iconic portraits of the 'man of steel'.

Marc Quinn, Alison Lapper Pregnant (2006)

Powerfully asserting that a woman with significant disabilities who is evidently sexual, about to become a mother, is worthy of being seen on the Fourth Plinth in Trafalgar Square. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Doug Auld, Shayla (2005) Portrait of a black woman with significant burn scars

Compared and contrasted with Gilbert Stuart's portrait of George Washington (1810).

Sasha Newley, Christopher Reeve (2004)

Juxtaposed with earlier iconic portraits of the 'man of steel'.

Marc Quinn, Alison Lapper Pregnant (2006)

Powerfully asserting that a woman with significant disabilities who is evidently sexual, about to become a mother, is worthy of being seen on the Fourth Plinth in Trafalgar Square.

Comment: Useful in discussing portraiture and depiction, and objectification in general.

Artworks to use with this text:

Yasumasa Morimura, Descent of the Actresses (1994)

Self-portraits in which the artists impersonates famous actresses. Useful in discussing portraiture and depiction, and objectification in general.

Artworks to use with this text:

Yasumasa Morimura, Descent of the Actresses (1994)

Self-portraits in which the artists impersonates famous actresses.

Comment: Useful in discussing portraiture and depiction, as well as power relations and art's role in them in general.

Artworks to use with this text:

Francis Wheatley, A Family Group in a Landscape (c.1775)

A dark clad black boy stands motionless at the extreme left of the canvass, scarcely making into the group. He is literally in the shadows. Useful in discussing portraiture and depiction, as well as power relations and art's role in them in general.

Artworks to use with this text:

Francis Wheatley, A Family Group in a Landscape (c.1775)

A dark clad black boy stands motionless at the extreme left of the canvass, scarcely making into the group. He is literally in the shadows.

Comment: Useful in classes focused on depiction and representation.

Artworks to use with this text:

Marcus Harvey, Myra (1995)

Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express. Useful in classes focused on depiction and representation.

Artworks to use with this text:

Marcus Harvey, Myra (1995)

Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express.

Comment: Useful in discussing portraiture and depiction, as well as the links between aesthetics and ethics, and objectification in general.

Artworks to use with this text:

Lucian Freud, Naked portrait (1972-3)

he people in Freud's 'naked portraits' are not shown as active or autonomous, but rather as inert material things. Their boundaries are violated, says Freeland.

Mary Cassatt, Children Playing on a Beach (1886)

Portraying children as autonomous, distinct individuals with inner lives. Useful in discussing portraiture and depiction, as well as the links between aesthetics and ethics, and objectification in general.

Artworks to use with this text:

Lucian Freud, Naked portrait (1972-3)

he people in Freud's 'naked portraits' are not shown as active or autonomous, but rather as inert material things. Their boundaries are violated, says Freeland.

Mary Cassatt, Children Playing on a Beach (1886)

Portraying children as autonomous, distinct individuals with inner lives.

Comment: Considers two fundamental but conflicting aims of portraiture: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. Explores how the two media of painting and photography might differ. Argues that despite photography's alleged 'realism' and 'transparency,' it allows for artistic portraiture and presents the same basic conflict between portraiture's two aims, the revelatory and the expressive.

Artworks to use with this text:

Richard Avedon, Jacob Israel Avedon (1969-1973)

Photographs of the artist's dying father. These frank portraits succeed at both artistic expression and the subtle rendering of the sitter's inner psychological states or character. Considers two fundamental but conflicting aims of portraiture: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. Explores how the two media of painting and photography might differ. Argues that despite photography's alleged 'realism' and 'transparency,' it allows for artistic portraiture and presents the same basic conflict between portraiture's two aims, the revelatory and the expressive.

Artworks to use with this text:

Richard Avedon, Jacob Israel Avedon (1969-1973)

Photographs of the artist's dying father. These frank portraits succeed at both artistic expression and the subtle rendering of the sitter's inner psychological states or character.

Comment: Useful in discussing portraiture, as well as depiction and representation in general.

Artworks to use with this text:

William Blake, Democritus (1798)

Johann Kaspar Lavater included portraits of many famous people in his Essays on Physiognomy. William Blake was one of the artists who helped illustrate the English edition. Useful in discussing portraiture, as well as depiction and representation in general.

Artworks to use with this text:

William Blake, Democritus (1798)

Johann Kaspar Lavater included portraits of many famous people in his Essays on Physiognomy. William Blake was one of the artists who helped illustrate the English edition.