Women Photographers
Photo by Anne Noggle

CRITICAL SELF PORTRAITURE:
THE PHOTOGRAPHS OF ANNE NOGGLE


Anne Noggle, Face-lift No. 3, 1975
   
The photographs of Anne Noggle focus on aspects of life that many would like to forget, particularly the effects of aging on herself and those around her.

Noggle came to photography at a time when straight documentary photography was the method of choice for many new photographers. She incorporated aspects from documentary photography and integrated them with her interest in portraiture. Noggle has said that her two greatest influences have been Julia Margaret Cameron and Diane Arbus, and this is evident in her work.

Photo by Anne NoggleHer portraits focus primarily on herself and her family and friends. Noggle's concept is that the portraits of the people she knows are far more powerful than portraits of those she does not. Her photographs are taken at close range; they are intimate images that capture the emotions of those around her. Noggle says of her photography: "I photograph the saga of the fallen flesh." (At left, Anne Noggle, Self Image in Conchiti Lake, 1978.)

Noggle states, in reference to her face-lift, "For someone who's so interested in aging, it's hard for me to explain about my face-lift... I've always been fascinated by something about my face, and it's interesting to see the changes and reverse them but at the same time see that they're taking place anyway... If I am shown in my face-lift as attempting to stave off the visible aging process, it is also an indication of what an exercise in futility that is."

Anne Noggle has taught photography, served as acting curator at the Museum of Fine Arts in Santa Fe, New Mexico, and in 1975 curated an extensive exhibition entitled Women of Photography: An Historical Survey, with Margery Mann. Noggle and Mann assumed the awesome task of compiling the 250 prints that were exhibited and and later published in the exhibition catalogue.

All images are copyright by the artist or by UC Regents, 1999, all rights reserved.
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