‘Tell Me Your Worst’ | Bridget Alsdorf
The Finnish artist Helene Schjerfbeck told her models to stay silent and look away from her while she worked. She would not tolerate conversation or a returned gaze. As a result her paintings show the many ways art can present a person indirectly: in profile, eyes closed, staring off in the distance or looking askance, absorbed in reading, thinking, or domestic tasks. Deflecting subjectivity is considerably more difficult when depicting oneself, and Schjerfbeck made many self-portraits throughout her career. How do you catch yourself looking away? And if you manage it, using multiple mirrors, what do you reveal? In a late drawing, Self-Portrait in Profile (circa 1933), the artist adopts a turned-away posture, leaving her reflection an unknowable exterior. A diagonal line in the lower-left corner shoots out of frame, marking the edge of her easel and signaling her attention’s direction. To follow it, as the composition invites, we have to slide past her toward the unseen object of her stare: her work, this work. We look away, caught in the space between the artist …

