Reverse 2003

Editor: We're looking at Jenny Saville's 2003 oil painting, Reverse, which appears to be a rather intense self-portrait. The close-up and almost confrontational gaze are really striking. What do you see in this piece? Curator: Saville consistently challenges conventional representations of the female body, and here, the unflinching self-representation continues this exploration. I think her work often addresses societal expectations and critiques the male gaze prevalent throughout art history. This painting, specifically, really pushes at those boundaries. What do you make of that reflection? Editor: It’s almost like she’s acknowledging the act of seeing, that we, the viewers, are part of the equation. Is she reversing or inverting those expectations? Curator: Exactly! It invites us to consider the power dynamics inherent in portraiture and challenges the viewer's expectations. Saville refuses to offer a passively beautiful or easily consumable image. Think about the unflattering angle and almost grotesque distortion. How does it speak to the politics of looking, do you think? Editor: It feels very deliberate. The way she manipulates the paint almost emphasizes fleshiness, disrupting ideals of beauty. The materiality becomes a statement. Curator: Yes! And in doing so, do you think she's confronting, perhaps even dismantling, conventional ideas about femininity and the objectification of women's bodies in art? Editor: I do. This painting offers a powerful challenge, pushing us to consider the role of the artist, the viewer, and the historical context that informs our understanding of beauty and representation. Curator: Agreed! It’s a brave assertion of self. And one that positions the female gaze in dialogue with centuries of art history.