The experimental self
Munch and photography
September 4 – January 9, 2022
Edvard Munch. Self-portrait in front of his own paintings. Ekely. 1930. Photo: Munchmuseet
In 1902, Edvard Munch bought his first camera, and he was one of the first artists in history to take “selfies.” Just like in his paintings and prints, his photographs are often about the representation of a self, with Munch showing us a spectrum of personalities, from the vulnerable patient in the clinic to the vital, naked artist on the beach. Munch curiously explored photography as a medium, and the theme he experimented with most was himself. He often exploited the effect of technical “roars” such as different camera angles, “mistakes,” focus, and movement with long exposure times that rendered the body ghostly.
Munch's photographs
As Munch considered himself an amateur photographer, he did not show the photographs publicly. For us today, the 261 photographs and 30 negatives he left behind are evidence of another side of Munch, documenting both a spontaneous and staged part of his life. In Munch's many self-portraits, we recognize our own habit of pointing the camera at ourselves. The exhibition shows both photographs taken in the period 1902-09 around Europe and a series of photos taken at Munch's estate Ekely around 1930. In the late photos, he turns the camera towards himself and takes a quick snapshot, just as we all do today.
Edvard Munch. Fips on the veranda, Ekely 1930. Photo: Munchmuseet
Edvard Munch. Towards the forest II, 1915. The Gundersen Collection, Norway.
Munch's graphic works
In Munch's graphic works, a selection of which is presented in the exhibition, one sees connections between his photography and printmaking. Munch mastered the graphic medium in a superior way, and the printing process, repetitions and variations interested him in working with both printmaking and photography. The exhibition shows overlap between motifs and compositions and shares with us the fine details and surprising effects that occupied Munch in both media.
The exhibition relates to and puts into perspective JF Willumsen's photographic practice. Munch and Willumsen were contemporaries and knew each other. What they have in common is the connection between their photography and art and a continuing interest in the self-portrait. In parallel with the exhibition, a number of Willumsen's works that relate to photography are presented.
The exhibition is curated by art historian and professor Patricia Berman and produced by The American Scandinavian Foundation/Scandinavia House, New York in collaboration with the Munch Museum, Oslo. It has previously been shown in New York and Stockholm, among others.
The exhibition shows approximately 60 reproductions of original photographs, a film shot by Munch and original graphics. The exhibition is put into perspective through a selection of JF Willumsen's own photographs and paintings in the museum's permanent collection.
Listen to an art talk with exhibition curator Pat Berman
The talk was recorded in connection with the screening of “The Experimental Self” at The National Nordic Museum in Seattle.
Buy the exhibition catalogue
(Norwegian version)
The exhibition is supported by:
Axel Muusfeldt's Foundation, Frimodt-Heineke Foundation, Ernst B. Sund Foundation, Queen Margrethe and Prince Henrik's Foundation, Attorney General L. Zeuthen's Memorial Grant
