A Quote by Rineke Dijkstra

I felt that the beach portraits were all self-portraits. That moment of unease, that attempt to find a pose, it was all about me. — © Rineke Dijkstra
I felt that the beach portraits were all self-portraits. That moment of unease, that attempt to find a pose, it was all about me.
I'm quite a precious painter; my style is a messy fine art - sort of impressionist. I do portraits, I love painting other artists, but recently, I've been playing around with self portraits, putting on different characters.
I've always been into subcultures. In the '50s and '60s, what Pierre Molinier was doing was super subculture - he was taking self-portraits, it was very private, very intimate. I think that's actually how I started my drag - in my bedroom, taking MacBook self-portraits.
The people have to know what my portraits are like in order to behave in such a way that the result is one of my portraits.
I've always said that the Europeans subconsciously knew how to pose because of the culture or tradition of having your portrait made. They were surrounded by these portraits, and subconsciously they were already posing for them.
In college, all my friends were graffiti writers, but I never wrote graffiti. I wanted to participate and do something cool on the street, so I'd make these portraits of people. I'd isolate them on a white wall, make a silkscreen of it, and do these portraits in bathrooms and all around. That's how I started the Polaroids.
I feel certain that the largest part of all photographs ever taken or being taken or ever to be taken, is and will continue to be, portraits. This is not only true, it is also necessary. We are not solitary mammals, like the elephant, the whale and the ape. What is most profoundly felt between us, even if hidden, will reappear in our portraits of one another.
Self-portraits are a way of revealing something about oneself.
There are ways of angling the camera. I don't just use a tripod. The only time I did that was in '88 when I first came out of detox, I spent every day doing self-portraits to fit back into my own skin. I didn't know what the world looked like - what I looked like - so in order to fit back into myself, I took self-portraits everyday to give myself courage and to fit the pieces back together. I used a tripod then.
I thought, 'Well, I'll amuse people a little bit.' During lunch hour, while everyone was off to the faculty club and this and that, I set up a bunch of bases down the hallway of the school and I put all of the portraits I had completed... and I waited for the reaction.... that's how I got started again, doing portraits of people around me.
When you pose for a photograph, it's behind a smile that isn't yours. You are angry and hungry and alive. What I value in you is that intensity. I want to make portraits as intense as people.
Painting self-portraits without clothes on has also given me some publicity.
If I was in love with someone, I would get their picture out of the school yearbook and do portraits. If I was curious about sex, I would draw pictures of it. There were no books for me to look at. Then I would go find my father's matches to burn the paper.
Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.
All photographs are self-portraits.
When we interpret the violent portraits of God through the lens of the cross, we can see God doing in history what he did in a supreme way on Calvary. And this is how these violent divine portraits anticipate, and point us toward, the cross.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
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