The Art of Joel-Peter Witkin

Story From A Book (1999)

The work of Joel-Peter Witkin has fascinated me since I was introduced to it at the age of 16. My photography teacher at the time allowed me to look at a book she had on him in her office (though many if the pages had been removed). I would leaf through the book daily, absolutely drawn into the images for a reason I could not understand. I realise now, that this was when I first made the discovery that art could be beautiful and prepossessing, while still being filled with horror, and that bodies could be sublime and alluring, though they may be deformed, corrupted or dismembered.

I view his images with a painter's eye. Partly due to his established technique of referencing famous paintings, but also due to the tried and tested historical art elements he uses- still life, often traditional compositions and figure positioning, and let us of course not forget the post production techniques he uses on his negatives. 

Witkin's work has expectedly been the focus of much controversy through his subject matter of corpses and people often seen as being on the border of what society deems to be normal. The words 'shock value' immediately come to mind, but I think his photographs show a delicate beauty and refinement that can negate these knee jerk reactions and condemnations of exploitation. His work is confrontational and emotional, exploring the time-honoured themes of mortality, Eros and Thanatos, and challenging paradigms of beauty and religion.

For your ocular pleasure:

Anna Akhmatova (1998)

Woman on a Table (1987)

The Kiss (1982)

Poussin in Hell, Paris, (1999)