There’s something dodgy about portrait artists, and that’s part of their allure. One way or another, they need faces. Often, they steal them and hope nobody complains. At times, they entice volunteers by appealing to their arrogance or cluelessness. Other portraitists pride themselves on treating their subjects well—befriending them, learning about them—but even a subject who feels seen may not understand exactly what she’s getting into (how many people know how they look?), and, if she is satisfied with the result, she is lucky. It’s the artist’s way that counts, not hers.
Not everyone agrees—if anything, there seems to be a law that all great portraitists must be praised for their empathy. (Even Diane Arbus, who referred to the people she photographed as “freaks,” is now described as a champion of body positivity.) There’s something defensive about this, perhaps related to the intrinsic strangeness, so common that we forget, of looking at faces that can’t look back. The more we flatter portrait makers for their virtue, the better we portrait viewers get to feel about our ogling.
この記事は The New Yorker の October 30, 2023 版に掲載されています。
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この記事は The New Yorker の October 30, 2023 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
The Dark Time. - On the Arctic border of Russia and Norway, an espionage war is emerging.
On the Arctic border of Russia and Norway, an espionage war is emerging. The point of contact between NATO and Russia's nuclear stronghold is the small town of Kirkenes. For years, Russia has treated the area as a laboratory, testing intelligence and influence operations before replicating them across Europe.
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