Understanding This New Art Movement of Defacement Part 8 section II

Part 8 Don’t Look at Me! (Section II)

See Part 8 Section I

Go Back to the Beginning Part 1

This is my continuing study of art that distorts, smears, or obscures the faces of its subjects.  I am trying to get my head around this art – in all its forms.  It seems to me to be almost an art movement – there are hundreds of artists that do this type of work exclusively.  They are men and women from around the world.  They are educated, self taught, professional, and hobbyist.  They work in all different genres from photography to sculpture.  I think ultimately my goal is to understand what this art says about our world, the culture of our world.  I think that collectively this art is saying something about this moment, I think that it means something beyond simply someone smearing their fingers through the paint on a persons face.  So I muddle, picking through the minutia of art, looking at different works, parsing them for meaning, comparing them and writing ridiculously ungrammatical sentences.   As always if you see your art here and want me to remove it please email me at clisawork@gmail.com and I will take it down right away.  None of this art is mine.  All art is attributed, and if you click on it will take you to the spot where I found it.

Section I of part 8 looked at photographs of people with their backs turned – which are numerous.  I know that artists of all kinds focus on part of the body to showcase the beauty of that part of the body or make a statement of some kind.  Some artists depict one part of the body as a study – to practice their art.  I have some examples of painted, drawn, and digital art – but none are studies.  To begin –

Portraits from Behind by Karolis Strautniekas
Portraits from Behind by Karolis Strautniekas


This picture is very self conscious about its point of vies – the back of the subjects.  It is also making a very clever statement about technology and art – how the use of technology can cause us to miss the art right might in front of us.  Perhaps the same can be applied to faces?


Boxed in VIII by Damian Goidich
Boxed in VIII by Damian Goidich


By hiding the face in this picture the artist is making a deliberate point, as the title reinforces “Boxed In”.  Minimizing what is shown of the subject of courses increases the viewers perception of being boxed in.


For a Seventh Wood by Antoine Cordet
For a Seventh Wood by Antoine Cordet


Untitled by Flavia Maria Pitis
Untitled by Flavia Maria Pitis


The Ear by Michael Borremans
The Ear by Michael Borremans


Unknown Title Ivan Aflifan
Unknown Title Ivan Aflifan


There are many many pictures of women painted from behind.  I think that it is something about the back of the neck.  With the hair up the emphasis seems to be on the neck.  This pose always makes women seem vulnerable to me though.

untitled by Robert Sammelin
untitled by Robert Sammelin


 Suppose You Don't Exist by Fabrice Samyn
Suppose You Don’t Exist by Fabrice Samyn


It seems to me that artists turn their subjects back to the viewer for a variety of reasons.  Some are symbolic.  Some remain mysterious:


unknown title by Kim Dorland
unknown title by Kim Dorland


There are also many artistic works – photographic and otherwise that obscure the faces of their subjects by having the subjects be far far away, like these by Hossein Zare:


Art by Hossein Zare




Art by Hossein Zare


Art by Hossein Zare


The effect of this is to obscure the identity of the subject of the art, but in many cases to reveal the artist’s intent.  The subject’s identity is sacrificed, but artist’s intent is revealed.

Part 9 –  “Nobody cared. It wasn’t a person; it was a picture.”



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