me, myself, y yo

This gallery is a collection of self-portraits of (by) women in the Americas.

This self-portrait depicts Mary Cassatt looking out at the viewer. The deep blue of her coat/dress contrasts with the lighter colors of the background. The background is nondescript, and the bottom right is just white space, with a few strokes of color. The figure sits alone in the space.
This painting by Frida Kahlo shows Frida lying naked on a hospital bed following her miscarriage, ribbons resembling umbilical cords connected to several images around her bed, including a flower, an elephant skeleton, a machine, and a fetus. A city (Detroit) is visible in the far background. Frida and the bed are in the forefront of the painting, implying isolation and grief. This self-portrait is extremely revealing, depicting a uniquely female affliction in an honest way.
In this drawing, Frida is wearing an elegant flowing dress, under which we can see her naked form with her mechanical column. She is alone in the space. The colors used in the drawing are strangely vibrant for a drawing, the purples and reds and some green standing out. As the title points out, this self-portrait shows the contrast between outward "put-together-ness" and internal pain.
This painting shows Frida topless against a green landscape background. Her chest is cracked open, revealing a metal spine and littered with nails. Her torso is also held together by white bands. Unlike "Henry Ford Hospital," this portrait has Frida taking up almost all the space on the canvas. The bands of the landscape contrast with the bands on her torso and the movement of her skirt, contrasting the mechanical with the natural. This self-portrait reveals Frida's physical pain and exposes it by literally breaking herself in two.
This self-portrait is a photograph depicting the artist against a white background, wearing a peasant blouse, a piece of tape bearing writing in a Mayan dialect covering her mouth. She faces the camera and looks directly into it, challenging the viewer. This photograph is clearly a statement, lacking anything to distract from the artist's face.
This self-portrait, like the previous one, is a photograph depicting the artist against a white background, wearing a peasant blouse, a piece of tape bearing writing in a Mayan dialect covering her mouth. This photograph is taken from a side angle and closer to the subject, showing the tape and writing more closely and placing an emphasis on this aspect.
This self-portrait depicts the artist in black and white, looking at the viewer, with a speech bubble reading "Wutchoo lookin at mofo" above her head to the right. This piece mixes mediums to create a collage--the artist is a photograph, and she has been pasted onto a red oil background with the speech bubble drawn over her head.
This self-portrait is a photograph of the artist against a black background, wearing a black sweater, with snakes coming out of her mouth. The white of the face contrasts with the black of the rest of the photograph. The artist doesn't look into the camera, and she seems unperturbed by the animals in her mouth.
This self-portrait is a photograph. The artist is wearing a sleeveless black shirt, and she has snails all over her face and shoulders/chest. She tilts her head up slightly, looking away from the camera. The background is black but more distinguishable than the previous photograph. The contrast is less defined in this self-portrait but again contains the same elements as her other portrait.
This self-portrait is a black and white photograph, and it depicts the artist topless, shown from the shoulders up. This photograph has the least contrast of the three self-portraits in this gallery--the figure is clearly visible against the grey background. The artist holds a bird against her closed eyes, yet another depiction of animals against her face or body.
Credits: All media
This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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