Another female photographer whose caught my eye is Izumi Miyazaki, a young Japanese woman whose self-portraits recall midcentury surrealism. She attempts to channel the unconscious through highly staged images that feel cute, gory, and poetic at the same time. The contrast between her wild id and her highly controlled style makes her work especially compelling. Here are a few of her most thought-provoking photographs:
Izumi Miyazaki: Consciousness
Izumi Miyazaki: Measure
Izumi Miyazaki: Fish
A few months ago, I came across a new mens fashion magazine entitled Boys by Girls at my favorite Berlin book and magazine shop. A young man, whose face and boyish stare looked vaguely familiar (upon googling, I learned he was Thomas Brodie-Sangster), somehow struck me as being both masculine and feminine at the same time.
The publication’s title, a clear effort to turn the tables on traditional gender roles by putting a woman behind the camera and a man in front of it, resonated with me. Like many art writers – and artists, for that matter – I’ve been thinking a great deal about the politics of gender representation in contemporary photography. To see a publication like this one fly off the shelves felt like validation for my own ideas, criticisms, and questions about how gender norms often dictate image making. I’d like to dedicate my month-long editorship of the Fotoblog to photographers who have informed my own thinking about how photography can help reframe conversations around gender.
I’d like to start of by introducing the work of Maisie Collins, a young photographer whose depictions of female sexuality I can’t seem to look away from:
Grass, Peonie, Bum. 2015.
Sticky Lips (from S.E.X.), 2015.