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Joan Semmel

With Camera


Baroque, 2002, Oil On Canvas

Baroque, 2002

Oil On Canvas

42h x 60w in (106.68h x 152.40w cm)

Four Rings, 2003, Oil On Canvas

Four Rings, 2003

Oil On Canvas

54h x 44w in (137.16h x 111.76w cm)

Pink Cushion, 2004, Oil On Canvas

Pink Cushion, 2004

Oil On Canvas

44h x 54w in (111.76h x 137.16w cm)

Close-Up, 2001, Oil on canvas

Close-Up, 2001

Oil on canvas

72h x 62w in (182.88h x 157.48w cm)

Body & Sole, 2004, Oil on canvas

Body & Sole, 2004

Oil on canvas

46h x 58w in (116.84h x 147.32w cm)

Centered, 2002, Oil on canvas

Centered, 2002

Oil on canvas

48h x 53w in (121.92h x 134.62w cm)

Violet Ground, 2004, Oil On Canvas

Violet Ground, 2004

Oil On Canvas

68h x 48w in (172.72h x 121.92w cm)

Double X, 2005, Oil On Canvas

Double X, 2005

Oil On Canvas

56h x 58w in (142.24h x 147.32w cm)

In the Pink, 2004, Oil On Canvas

In the Pink, 2004

Oil On Canvas

44h x 44w in (111.76h x 111.76w cm)

Light on Glass, 2005, Oil On Canvas

Light on Glass, 2005

Oil On Canvas

46h x 58w in (116.84h x 147.32w cm)

Disappearing, 2006, Oil On canvas

Disappearing, 2006

Oil On canvas

54h x 46w in (137.16h x 116.84w cm)

Tilted Mirror, 2002, Oil On Canvas

Tilted Mirror, 2002

Oil On Canvas

50h x 38w in (127h x 96.52w cm)

Mirrored Screen, 2005, Oil On Canvas

Mirrored Screen, 2005

Oil On Canvas

50h x 58w in (127h x 147.32w cm)

Framed, 2005, Oil On canvas

Framed, 2005

Oil On canvas

68h x 62w in (172.72h x 157.48w cm)

The With Camera series (2001—06) marked the first time Joan Semmel purposefully posed in front of the mirror with a camera. Like her earlier Locker-Room works (1988—91), these paintings celebrate the aging process through their accurate portrayal of the artist’s body. Semmel continued to develop these ideas in her Framed series (2005—2006), which presented images of her taking photographs framed inside a mirror. As she expands, “[both series address the] multiple ways in which we view images of ourselves and others create a virtual reality, one we tend to accept as true and real when, in fact, these images are all facsimiles that disconnect us from life. By revealing the way in which I construct my images, I posed the question: how do we create our own reality?”