front cover of Van Gogh. Self-Portraits
Van Gogh. Self-Portraits
Edited by Karen Serres
Paul Holberton Publishing, 2022
An exhibition catalog tracing the evolution of Van Gogh’s self-presentation in his art. 

This volume accompanies an exhibition at London’s Courtauld Gallery, the first to explore the full chronological range of Vincent van Gogh’s self-portraits. 

The myth of Van Gogh today is linked as much to his extraordinary life as it is to his world-famous paintings. His biography has often shaped the way his self-portraits have been (mis)understood. Spanning his entire career, this volume explores these highly personal paintings, analyzing the artist’s self-representation in context to reveal the role it plays in his oeuvre. Of particular interest is the striking way the evolution of Van Gogh’s self-representation can be seen as a microcosm of his development as a painter.

In addition to the celebrated Self-Portrait with Bandaged Ear, the exhibition showcases a group of major masterpieces brought together from international collections, including the Van Gogh Museum in Amsterdam, the Musee d’Orsay in Paris, the Art Institute of Chicago, and the National Gallery of Art in Washington, DC, among others. Beautifully illustrated, this exhibition companion includes detailed entries on each work, an appendix illustrating all of Van Gogh’s self-portraits, and three insightful essays on the theme.
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Venus Inferred
Laura Letinsky
University of Chicago Press, 2000
We are all, it is said, looking for love. But what does love look like? Does it look the way it feels? The visual vocabulary of romance-its attendant comforts and vulnerabilities, ambivalences and unclarities-is the subject of Venus Inferred. This collection of 46 richly reproduced color photographs is Laura Letinsky's study of contemporary lovers as they are seen, as they show, and as they see themselves making love and inhabiting domestic space. Entering what might be called the intimate sphere, Letinsky's camera explores a space too personal to be termed public and yet whose cultural and emotional shape is uncannily recognizable. Over a seven-year period, Letinsky visited lovers in their homes, hotel rooms, bedrooms, bathrooms, and kitchens and recorded in detail the promises, disharmonies, and disappointments that inhere in modern coupling.

Accompanying the photographs is an essay by critic Lauren Berlant, which presents an aesthetic and cultural analysis of the contemporary images of romance and intimacy. Berlant contemplates the burden of clarity that sexuality bears, implicit both in conventional romantic ideals and in the "counterpolitics of the flesh" that desires to escape them. Thus arises the sublime ordinariness of Letinsky's couples, Berlant argues: "As 'normal' pleasures themselves become deemed modes of domination, the already destabilizing aspects of sexuality can feel even more unsettling." An interview between Letinsky and Berlant unfolds the artist's intellectual formation while exploring the unsettling and pleasurable power of her images as they circulate through the domains of romance, sexuality, and contemporary culture.
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