Josh WoolAmanda – Brooklyn (2014)

You are probably familiar with Wool’s work whether you know it or not: he handled the darkroom/chemical processing of Victoria Will’s Sundance tintypes—which included the final photograph of Philip Seymour Hoffman.

This is a killer portrait. Just fucking lovely. But although I don’t want to slight Wool, I am much more interested in the subject: Amanda Jasnowski.

Full disclosure: I think Jasnowski is blushing-while-staring-at-the-top-of-my-Docs-and-kicking-dirt pretty.

But in light of my previous Jacs-Fishburne-is-a-goddess post, I wanted to take a moment to indicate Jasnowski as another artist who is not only a photographer willing to put herself in front of the camera, she also shares glimpses of her inner world via social media.

As a photographer her work which ranges from unnervingly precocious (i.e. Julia, November) to sloppy whimsicality of the All’s Well That Ends Well series.

That sounds like more of a criticism than I intend and I am not sure it’s envisioned that way but with Jasnowksi, her persona seems less curated and more openly experimental. As if in an age of the NSA, PRISM and digital encroachment into individual privacy, she appears to be externalizing the inner in a purposeful manner—showing her work, owning her process, successes, missteps, mistakes and all.

Which brings me back to this image—there’s a way in which every facet of the presentation cancels out other facets. There’s a vulnerability and a defiance. Softness of hair and light the hardness of the nose, the sharp, uneven crease between her lips. Her hair looped around her neck logically segments the composition which emphasizing the face but also suggests a noose.

It fits with Jasnowski’s persona: accepting the revealing as an act of concealment and merely reporting it as it is.

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