Self Portrait with Poker Table 1969

Editor: Catherine Murphy’s "Self Portrait with Poker Table," painted in 1969 using oil paint, presents a scene that feels both intimate and somewhat unsettling. There's a tension between the mundane objects and the artist's own imposing presence. What catches your eye in this piece, and how do you interpret its overall meaning? Curator: The presence of certain objects and especially their arrangement is compelling, wouldn't you say? The poker table becomes a surrogate for self-reflection. The artist places herself within this domestic space, amidst symbols of chance, leisure, and perhaps even isolation, which together produce an image imbued with psychological density. Note how her self-presentation intersects with broader questions around women, labor and leisure time, in the post-war period. The outdated television set and the card table point to an environment frozen in time. What stories are encoded in these carefully chosen symbols? Editor: It’s fascinating how you draw attention to these individual items and how they symbolize a narrative. The poker table specifically suggests games, risks, strategies...is she gambling with her identity? Curator: Perhaps, or confronting an audience that hasn't caught up to her talent. These items and their arrangement allow us to weave our way through layers of meanings – from the personal to the societal. There's an undeniable undercurrent of complexity lurking beneath the surface of her stoicism. It serves as a commentary on the artist’s place within that historical moment and beyond. Editor: That's given me a lot to consider! It makes me see the self-portrait not just as a depiction of an individual, but as a map of societal norms, the pressure of fitting into a game whose rules are rigged against her and more. Curator: Exactly! Visual artifacts often unlock more information about continuity between the present, past and future, than more traditional resources. The piece evolves in front of you.