{"id":1275,"date":"2026-08-09T23:35:54","date_gmt":"2026-08-09T23:35:54","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1275"},"modified":"2026-08-09T23:35:54","modified_gmt":"2026-08-09T23:35:54","slug":"works-from-the-los-angeles-museum-of-photographic-self-portraiture","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1275","title":{"rendered":"Works from the Los Angeles Museum of Photographic Self-Portraiture"},"content":{"rendered":"<div>\n<div>\n<div>\n<div>\n<div>\n<p><em>\u201cA Man and His Mustang\u201d (2006)<\/em><br \/><em>Polaroid Instamatic Camera<\/em><br \/><em>Ronnie DiMarco<\/em><\/p>\n<p>DiMarco stands beside his gleaming Ford Mustang convertible. The car\u2019s top is down, and the artist\/subject is shirtless, revealing his six-pack abs and an Italian-flag chest tattoo. His body glistens with moisture from having recently washed his prized vehicle. Man blends seamlessly with machine, echoing the work of Umberto Boccioni, the image\u00a0implying that the artist\u2019s sense of \u201cself\u201d extends beyond his own body to include the Mustang\u2019s sleek frame.<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=1273\">Recommendations<\/a><\/p>\n<p><em>\u201cFingernails No. 17\u201d (2008)<\/em><br \/><em>Canon Rebel Digital Camera<\/em><br \/><em>Layla Hightower<\/em><\/p>\n<div><\/div>\n<p>The artist\u2019s freshly painted nails presented atop a crisply folded blanket indicate the recent transition from her \u201cI Can\u2019t Even Right Now\u201d period to her \u201cNo More Drama\u201d phase. Hightower\u2019s palette, much like that of Picasso, often demarcates the distinct emotional tone of her work. The vibrant purple captured here says, \u201cI work in human resources, but I\u2019m more than just my job, O.K.?\u201d<\/p>\n<p><em>\u201cPortrait of the Artist with Her Besties\u201d (2013)<\/em><br \/><em>Taken by\u00a0Sara\u2019s BlackBerry, and She Sent It to Everyone Else<\/em><br \/><em>Clare Hoyt<\/em><\/p>\n<p>The artist and her three friends are depicted during an evening of revelry, as evidenced by their lips, shown pursed in an exuberant communal \u201cWoo!\u201d From left to right, the subjects are Monica (whose birthday it was), Clare (who insisted on taking the picture because she just lost a bunch of weight and didn\u2019t care that no one else was looking the right way), Sara (untagged herself on Facebook because she was sweaty from dancing), and Louisa (trying to \u201csmize,\u201d or <em>smile<\/em> with her <em>eyes<\/em>, in the tradition of Da Vinci\u2019s Mona Lisa or \u201cAmerica\u2019s Next Top Model\u201d\u00a0\u2019s Tyra Banks).<\/p>\n<p><em>\u201cVacation Feet\u201d\u00a0(2011)<\/em><br \/><em>Samsung Galaxy<\/em><br \/><em>Donna McMillan<\/em><\/p>\n<p>Little is known about McMillan, except that her work was rumored to have caused unrivalled <em>FOMO<\/em> (fear of missing out) among her contemporaries. In this image, from the artist\u2019s \u201cSumma Vacay\u201d Facebook album, the artist\u2019s legs extend along a beach towel toward the horizon. Her limbs are dotted with sand and sea salt, and her feet rest perpendicular to the ground with no footwear in sight, suggesting that the subject\/artist has no intention of vacating (a clever visual pun) her current position. This shot revisits McMillan\u2019s frequent theme of leisure, first encountered in \u201cOn the Couch with Bae\u201d (2011) and \u201cBruuunnnch!!!\u201d (2011), a series of three hundred photos of a single omelette.<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=1271\">A Few of My Greatest Fears, in No Particular Order<\/a><\/p>\n<p><em>\u201cStill Life with Duckface #NoFilter\u201d (2009)<\/em><br \/><em>iPhone (No Filter)<\/em><br \/><em>Charla Clarke<\/em><\/p>\n<p>This portrait, captured in the bathroom mirror, with the subject\u2019s iPhone uncropped from the frame, is meant to show Clarke in a natural state. Her lips, pursed into a classic \u201cduckface\u201d expression, and her slight cock of the head indicate that she is aware of the presentational nature of the piece. But her attire (long T-shirt over short shorts) intensifies her insistence on unadorned beauty, continuing the tradition of Frida Kahlo\u2019s bold, unflinching self-examinations. (It is rumored that Clarke attempted this photograph using the \u201cAmaro\u201d and \u201cMayfair\u201d filters before opting for a rawer look, but those drafts were lost when the artist needed to clear space to update her phone\u2019s operating system.)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p><em>\u201cThe \u2018Candid\u2019\u00a0\u201d (2014)<\/em><br \/><em>Kindle Fire<\/em><br \/><em>Royce Davis<\/em><\/p>\n<p>In \u201c\u00a0\u2018The Candid,\u2019\u00a0\u201d the artist\/subject\u2019s eyes do not meet the gaze of the camera lens. From the subject\u2019s face alone, we would assume that he was caught by a photographer in a moment of casual contemplation. Except, of course, we see Davis\u2019s entire camera-holding arm in the picture (shades of Escher), so we know that he took the photo himself. Davis\u2019s work never hesitated to embrace such contradiction. His Instagram feed frequently featured photos of his baby daughter (captioned \u201cdaddy\u2019s little angel\u201d) bookended by photographs of the artist alone in his apartment bearing the text \u201cthese hos ain\u2019t loyal.\u201d<\/p>\n<p><em>\u201cMr. Button and His Ball\u201d (2012)<\/em><br \/><em>MacBook Pro Internal Camera<\/em><br \/><em>Luke Desmond<\/em><\/p>\n<p>The inclusion of this work is controversial because the only figure in the frame is Mr. Button, a fawn pug puppy. A coterie of critics consider this picture a \u201cdog selfie,\u201d while other more rigorous analysts insist that because the dog did not take the picture <em>himself<\/em>, the term is stupid. Both factions agree that the artist\u2019s use of the \u201cRise\u201d filter gives the work the glowing, haloed appearance of a Renaissance fresco and underscores the implication that Mr. Button is a good boy. Yes he is.<\/p>\n<p><em>\u201c\u00a0\u2018U up?\u2019\u00a0\u201d (2010)<\/em><br \/><em>Unknown Flip Phone<\/em><br \/><em>Unknown Number<\/em><\/p>\n<p>Though nude portraiture has long been a mainstay of fine art, the nude <em>self-portrait<\/em> became particularly popular with the ascendance of the camera phone. This piece takes the form of a blurry photograph of the artist\u2019s erect penis, time-stamped 2:15 <em>A.M.<\/em> on February 15th. The dim lighting, ill-defined relationship to the recipient of the work, and absence of identifying features convey that <em>whose<\/em> penis this is does not matter. It could be <em>anyone\u2019s<\/em> penis, and thereby stands for <em>everyone\u2019s<\/em> penis.<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=1269\">We Are Pivoting to Radical Empathy<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The nude self-portrait became particularly popular with the ascendance of the camera phone.<\/p>\n","protected":false},"author":1,"featured_media":1274,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1275","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Works from the Los Angeles Museum of Photographic Self-Portraiture - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1275\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Works from the Los Angeles Museum of Photographic Self-Portraiture - 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