The study from three business schools in Europe confirms that selfies are the worst. In a paper hilariously titled “Tagger’s Delight? Disclosure and liking behaviour in Facebook: the effects of sharing photographs amongst multiple known social circles” four professors claim that people who post more selfies have shallow relationships with people. You know, real, live people. With heartbeats! Increased frequency of sharing photographs of the self, regardless of the type of target sharing the photographs, is related to a decrease in intimacy,” explains the report.
Helmut Newton‘s selfie with Gustav Courbet’s The Origin of the World
All my girlfriends, 2007-2009
Courtesy Perrotin Gallery, Paris
Ivàn Argote will be at Artissima 2015 with ADN Galeria, Barcelona
Qualities like medium specificity, deeply rooted histories, and traditions (or lack thereof) that define these efforts only superficially differentiate the two. What has greater weight is the selfie’s inherently replaceable and even disposable quality. If after taking a picture of oneself the results are unsatisfactory, it is easily forgotten and replaced by a new picture.
The self-portrait, whether it is a carefully composed study or created in haste, often contains more decisions than could be easily erased. Calling a self-portrait by Rembrandt a selfie is not only anachronistic, it also negates the carefully calculated set of decisions that created the rendering.
This does not mean that selfies cannot be self-portraits, or that selfies by nature require the opposite of calculated intent. An artist could choose to represent him or herself through selfies; however, self-portraits don’t immediately signify selfies.At Artissima:
Saturday November 7, 6.30 pm
Sunday Painters 2015.
The self portrait in the era of selfies. Speakers: Mario Calabresi, director La Stampa; Francesco Bonami, curator
Seen or seeing? The painter is observing a place which, from moment to moment, never ceases to change its content, its form, its face, its identity. But the attentive immobility of his eyes refers us back to another direction which they have often followed already, and which soon, there can be no doubt, they will take again: that of the motionless canvas upon which is being traced, has already been traced perhaps, for a long time and forever, a portrait that will never again be erased.