小猪视频

In her 1992 self-portrait Me:Me, British artist Gillian Wearing explores what has been described as聽"the public masquerade of femininity"鈥攊mplying that we are always performing our gender for others as well as for ourselves.

In our fast-paced age of social media, pervasive double standards of what is 鈥渇eminine鈥� alongside accepted behaviors and perceptions of beauty mar our daily lives. Photography, the art of capturing a moment in time, has been regarded as a medium that documents subjects as they appear. But behind the focus of a camera lens,聽artifice can occur: figures are purposefully posed, slathered in make-up, and costumed, producing a series of masks and mirrors.聽

This exhibition presents a selection of works from the museum鈥檚 permanent collection that spotlight the interaction of gender and technology from the early use of photography to the dawn of the Internet.

Masks and Mirrors is curated by Stella Morris 鈥�26, Fred W. Hicks Curatorial Fellow.

Image Top: Brett Weston (American, 1911-1993) Classic Nude [detail], ca. 1970, Silver gelatin print, 8 x 10 in., Gift from the Christian Keesee Collection. 2021.7. 漏 Christian Keesee Collection

Image Right: Gillian Wearing (British, b. 1963) Me:Me, 1991-1992, Bromide print mounted on aluminum, 20 1/4 x 17 1/8 in., The Alfond Collection of Contemporary Art, Rollins Museum of Art. Gift of Barbara 鈥�68 and Theodore 鈥�68 Alfond, 2016.3.16. Image courtesy of the artist, Tanya Bonakdar Gallery, New York and Maureen Paley, London