The Art of the Selfie

The Art of the Selfie


Painters used to be the only people capable of self-portraiture, but now we are all at it. As a new Saatchi Gallery show celebrates the selfie, is vanity itself is now an art form?
Up on the Sistine Chapel ceiling in Rome there is a blonde looking at herself in a mirror. If you’re standing at the back of the chapel, she’s high up on the right, among the ancestors of Christ. A beautiful woman transfixed by her own reflection.
The blonde’s role in Michelangelo’s dense symbolism is to represent vanity. In art, women looking into mirrors have always represented vanity. That’s their artistic purpose. Vanity was seen as a dangerous human weakness. Something to be fretted over and regretted.
Fast-forward 500 years, and all that has changed. Today, not only does there seem to be a woman in every mirror, but the very concept of “vanity” seems to have taken a direct hit in the bows. For centuries, nay millennia, vanity was understood as something to be avoided. “For heaven’s sake, take your eyes off yourself,” was the message of Michelangelo’s Sistine blonde. Today, not only is it culturally acceptable to adore the sight of yourself, but the pursuit of our own presences has turned into an international epidemic.

The one show: with the aid of some wigs, the photographer Juno Calypso transforms herself into Joyce, a character she created to explore feminine identity

Wherever we look, there we are. On Instagram, on Twitter, on Facebook. In every corner of the smedding cosmos, we, us, me, moi are staring back at us as we elbow ourselves into our neighbour’s sightlines like a bunch of mad shoppers at the Boxing Day sales. Today, nobody is a nobody anymore. Not on their Instagram account at least.
Juno Calypso took this portrait during a solo vacation at a couples-only hotel with a time-lapse camera
Perversely it was art itself, the same art that invented the woman in the mirror, that invented the selfie. If you go left from Michelangelo’s blonde in the Sistine Chapel, over to his Last Judgment on the far wall, you will see a fearful-looking naked chappie sitting on a cloud at the feet of Christ, holding what looks like an animal skin. The naked chappie is St Bartholomew, a celebrated Christian martyr who was skinned alive by the Romans. What he is actually holding is his own skin. And the face on it is Michelangelo’s. It’s a self-portrait. On the most important wall in the Sistine Chapel, Michelangelo has inserted himself into the height of the action.
What’s interesting about Michelangelo’s Sistine selfie is that it is an early example of role-playing. This isn’t Michelangelo, the real bloke. This is Michelangelo pretending to be the skin of St Bartholomew. He’s acting out a part. And that’s the thing about selfies. From the start they were never about the real you. They were always about an imagined “you”. A construct. A projection.
It’s as true today of Kim Kardashian “curating” her own nudity on Instagram, or Cindy Sherman imagining herself to be Caravaggio, or the woman you sit next to in the office dressing up as Cindy Sherman imagining herself to be Caravaggio, as it was of Michelangelo “curating” his nudity in the Sistine Chapel. In the world of the selfie, no one is really them.
Artists were the first selfie-takers because they were the only creatives in the past who could actually do them. What is now easy used to be difficult. Before the advent of smartphones and mirror functions, only those who could paint and draw to a high standard were capable of preserving a convincing likeness. Not only did you need to stare into a mirror for hours, wrestling with your own reality, but you needed also to say something meaningful. Looking like you was never enough.
No wonder the great self-portraitists are such a miserable bunch. The greatest of them all, Rembrandt, is one of art’s glummest presences. Rembrandt painted about 50 self-portraits in all — Kardashian numbers! But in none of them does he appear to enjoy what he sees. Even in his earliest selfies, the young Rembrandt looks as if he is counting the days. By the time he gets to old age, his face is as lined with pits and wrinkles as a pensioner’s scrotum. Yet this, too, is role playing. Those funny hats he wears, the gold chains, the fur coats, are studio costumes put on for the picture. This was not the clobber he wore in the street. Rembrandt’s selfies are fantasies about the passage of time, the shortness of life.
Past master: you needed extremely nimble fingers to produce a selfie in 1889 — as demonstrated by Vincent Van GoghELECTA/REX FEATURES
The same with Caravaggio, who popped up regularly as Bacchus, the god of wine, with his toga slipping off his shoulder and a crown of vine leaves around his head. Caravaggio dressed up as Bacchus to make the same point that Rembrandt makes. Life is short. Enjoy it while you can. Because it will soon be over.
Among art’s keenest self-portraitists, not one of them, not Gauguin, not Van Gogh, not Frida Kahlo, can be described as an optimistic presence. Something about looking into a mirror, staring deep into yourself, turned the self-portraiture of the Old Masters into a dark and profound pursuit.
That is no longer true. Today, taking selfies is simples. Just point and click. Anyone can do it. Famous politicians gathered at important summits can do it. People falling out of aeroplanes can do it. Women in the bath can do it. Astronauts orbiting the moon can do it. We can all do it. The disappeared have disappeared. A Niagara Falls of selfies is cascading down on us from the heavens as every nobody on the planet is handed the tool with which to turn themselves into a somebody.
All this is the subject of an exhibition at the Saatchi Gallery that is heading our way. Combining Old Master examples with a selection of the best modern efforts, From Selfie to Self-Expression at the Saatchi will seek to understand why we humans cannot take our eyes off ourselves.

How to break the internet: first strip off and take a selfie, then post it online and watch mayhem ensue. NB: this only works if you are a global celebrity with your own reality-TV show, like Kim KardashianSPREAD PICTURES
Peak celebrity: selfie from the 2014 Oscars. Front row, from left: Jared Leto, Jennifer Lawrence, Meryl Streep, Ellen DeGeneres, Bradley Cooper, Peter Nyong’o. Second row: Channing Tatum, Julia Roberts, Kevin Spacey, Brad Pitt, Lupita Nyong’o, Angelina JolieAP
All about me: this neon sculpture by the artist Gavin Turk is a homage to Freud that also succinctly nails the current zeitgeist
I’ve been framed centre: the photographer and film director Cindy Sherman became famous in the 1970s for her selfies — although hers were better known as “conceptual self-portraits”. Here she poses as an imaginary actress in New York, 1977
Smile, and the world smiles with you (briefly): the moment in 2011 in Indonesia when a macaque pinched a camera, flashed a full-watt grin to take the first animal selfie — and sparked a series of court cases over the copyrightDAVID J SLATER
The first selfie? Michelangelo painted himself into the action in the Sistine Chapel — his face is on the shed skin of St BartholomewALAMY
Soul-baring: the artist Frida Kahlo painted this highly symbolic self-portrait in 1940, after her marriage failed. The thorn necklace is thought to express her sense of martyrdom, the dead hummingbird represented love, the black cat bad luck and the monkey a metaphor for evil
Facing the world: Gwyneth Paltrow joins in last year’s celebrity trend for #nomakeup. She posted this snap on Instagram in September to celebrate her 44th birthday
Steady does it: the film director Stanley Kubrick showcases an awkward-looking technique in 1949 — from an age before selfie sticksMUSEUM OF THE CITY OF NEW YORK
High risk: the quest for the perfect selfie is literally a matter of life and death for Kirill Oreshkin. The “Russian Spider-Man” breaks into skyscrapers to take his daredevil — some might say completely barking — self-portraits
Watch this space: the Japanese astronaut Akihiko Hoshide communicates the profound wonder of the universe in a selfie during a spacewalk in 2012
Poll positioning: the crowd turns its back on Hillary Clinton for a mass selfie at a rally last SeptemberBARBARA KINNEY
Four’s a crowd: Michelle Obama is the only one to maintain a sense of occasion at Nelson Mandela’s memorial service in 2013 — unlike David Cameron, the former Danish PM Helle Thorning-Schmidt and Barack Obama, who posed for an ill- advised group selfieROBERTO SCHMIDT/GETTY IMAGES
Grin and bear it: the suicide belt (later found to be fake) worn by the EgyptAir hijacker Seif Eldin Mustafa (left), did not deter a British passenger, Ben Innes, from posing with him in March 2016. “I wanted him to understand I was human,” Innes later explained
The history girl: 400 years after Caravaggio’s original (left), Cindy Sherman recreates Sick Bacchus in 1990 (right)




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