IB Diploma

Extended Essay

Fig. 1: Kardashian, Kim. N.d. Instagram. Web. 9 Sept. 2016.

Are Kim Kardashian’s selfies expressing a contemporary form of

self-portraiture?

WORD COUNT: 3317


 ABSTRACT

Kim Kardashian is an indisputable media mogul, and while much of the population may

view her selfies as a form of narcissism, there is a more profound question to be asked and

answered. This essay examines whether Kim Kardashian’s selfies can be considered a

contemporary form of self-portraiture. To address this, I explore the history of self-portraiture

and the evolution of the selfie. To answer the question, I analyzed several of Kim Kardashian’s

selfies in comparison to traditional artworks. First, the essay investigates whether Kim’s fits into

the idealized look of female beauty through her portrayal of glamour, and creates an aesthetically

appealing self-portrait to all viewers. Next, the essay dissects her selfies to see if the elements of

design were distributed in the composition to make a visually interesting portrait. The last area of

examination deals with capturing the moment, and whether the Kim Kardashian’s selfies

contributes to the portrayal of the artist, through a new dimension of space and time, or a deeper

connection and understanding of the artist. Throughout the paper, comparisons to well-known

self-portraits were provided, to ensure a sufficient depth of analysis was reached to support the

paper’s conclusions. The paper reaches the conclusion that Kim Kardashian’s selfies express a

contemporary form of self-portraiture by the use and distribution of formal elements of design

that contribute to the composition influencing her portrayal of the idealized look of beauty within

herself.

Word Count : 241

 TABLE OF CONTENTS

Introduction 2
History of Self-Portraiture 4
Kim Kardashian 7
The Idealized Look 9
Distribution of Elements of Design 13
Capturing the Moment 16
Conclusion 19
Works Cited 20

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 INTRODUCTION

The ever increasing popularity of selfies’ was highlighted in 2013 when Oxford

Dictionary UK named “selfie” as their word of the year. They defined selfie as “a photograph

that one has taken of oneself, typically with a smartphone or webcam and uploaded to a social

media website” (Selfie - Definition of Selfie in English | Oxford Dictionaries).

Personally, it was not until my dad first mentioned the selfie that I knew it was not a

fleeting new trend but was here to make an impact. At first, he opposed the concept, judging

selfie takers at the beach, deciding anyone partaking in the activity to be self-absorbed. However,

at some point in time his perspective changed. Every now and then he will pose for a selfie, and

will sometimes even instigate one.

The perception of the selfie has changed, across all generations. I’m intrigued to know

why; is it because people now view the selfie as an actual art form? For this essay, I intend to

explore whether Kim Kardashian’s selfies are expressing a contemporary form of portrait art.

The act of immortalizing oneself in some artistic form is in no way new or revolutionary.

Self-portraits have been around for centuries taking form in many different types of art:

everything from expressionist painting to hyper realistic sculptures. Taking a selfie is a modern

form of self-expression, allowing viewers a glimpse into a person’s mood, personality, and style,

to name a few. This aspect is incredibly important to social media influencer, Kim Kardashian,

who uses her selfies as a method to connect with her fans. When taking a selfie, the artist is in

control of the outcome, there is no production team. Kim can take a selfie and post it directly to

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social media for followers to see. Therefore a very personal connection is created between the

taker and viewer (Day).

I think that Kim Kardashian’s selfies express a contemporary form of self-portrait art by

the use of design elements and principles that contribute to the composition and influences the

portrayal of the idealized look of self. The method of investigation used to prove my thesis

includes: the concept of the female idealized look, composition as a design principle dealing with

distribution of elements of design, and adding a dimension of time capturing the portrait in the

moment.

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 HISTORY OF SELF-PORTRAITURE

Self portraiture is a form of fine art that deals with a specific subject matter and can be

created through a variety of different medias like sculpture, drawing, painting, and photography.

A self-portrait is defined as “A portrait of an artist produced or created by that

artist” (Self-portrait - Definition of Self-portrait in English | Oxford

Dictionaries). Artists throughout time have been reproducing their own

image, in which their face is the focal point. The purpose of such an art

form can vary. It can produce a faithful visual record of royalty and

aristocracy, class promotion, high social status, wealth and importance. For Fig. 2: (Bacon)

example, in Sir Nathaniel Bacon’s self portrait, he paints himself in lavish clothing to display his

wealth and social status.

Self-portraits can convey the artist’s physical and emotional state at different points in

time, acting as a visual diary recording personal growth. Andy Warhol

conducted many self-portraits and interestingly Fig. 3 was one of the final

few before his death. Art critics suggest that Fig. 3 portrays “ the anxious

Fig. 3: (Warhol) meditation of an aging artist ” (Blessing).

In portrait art, the subject must be available to stay in one position for

relatively long periods of time or over the course of many sittings. Self-

portraits permit an artist to practice or refine their techniques more

conveniently, as the artist is also the subject. Additionally, it is an easy way

to showcase skill and technique in portrayal of figurative art to potential

clients. Although many could see self-portraits as vain, or narcissistic, Fig. 4: (Arneson)

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 Robert Arneson once explained that he creates self-portraits because he’s “free to abuse

[himself], because it’s really dealing with the plastic nature of the expression and not the inherent

sense of character” (Robert Arneson's Portraits Have Nothing to Do with Ego). Self-portraits

allow him to play around with unconventional or inelegant facial expressions, like in Fig. 4,

without running the risk of offending a client (Robert Arneson's Portraits Have Nothing to Do

with Ego).

The accessibility to create self-portraits increased with the invention and the evolution of

the camera. The first known person to take a photographic self-portrait was

Robert Cornelius in 1839 (Robert Cornelius, Self-portrait; Believed to Be the

Earliest Extant American Portrait Photo). At that time, self-portraits were

taken primarily to test lighting and the optics of the lens. Artists became much

Fig. 5: (Cornelius) more open to experimenting in photography once the Polaroid Camera was

invented, as it eliminated the use of the darkroom. However, it became much

more attractive to amateur photography enthusiasts once the digital camera was invented.

Photographers were able to be selective and delete their photos without having to develop them

or waste money on film.

Finally, it was the introduction of the front-facing camera on the iPhone 4, in 2010, that

propelled the selfie movement. Self-portraiture became instantaneous, and available to everyone.

Studies from Pew Research Center have found that 26% of the American population have

snapped a minimum of one selfie and shared it to a social media site (More than Half of

Millennials Have Shared a ‘selfie'). Selfies have dramatically changed from earlier forms of self-

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portraiture, creating a significant mark on communication through digital media in our

contemporary world.


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 KIM KARDASHIAN

Kim Kardashian West, a Los Angeles born socialite, entrepreneur, model, and reality

television personality, is famously known for “breaking the internet” with her curvaceous figure

in Paper Magazine in November 2014. With connections to the creative industry, Kim worked

with established photographer Jean-Paul Goude to recreate his famous photograph of Carolina

Beaumont known as “Champagne Incident” for her Paper Magazine cover. Goude comments on

selecting Kim for the cover saying her “butt stacks up perfectly between Paleolithic sculptures

like the Venus of Willendorf and [those from] ancient Greece” (Fleming).

Kim is an icon in the fashion industry. Kim has developed solid relationships with

fashion houses and designers like Valentino and Olivier Rousteing, making her a front row

fixture at Fashion Month shows. She owns a chain of boutiques D-A-S-H, that she runs with two

of her sisters, Kourtney and Khloé. Kim’s large family plays an important role in her life. Her

reality television show Keeping Up with the Kardashians has been the base for spin-off shows

like Kourtney and Kim take New York. While the Kardashians are most notably thought of being

famous just for being famous, Kim has successfully amplified her fame through her use of social

media and her ability to remain current.

With the most liked photo on Instagram in 2014, she has a mass following of 128.6

million on social media (Parks-Ramage). Kim, along with her four sisters, have each created

their own unique media platform in the form of a personal app and website. However, this was

not Kim’s first time venturing into the app world, as she had her own game Kim Kardashian :

Hollywood (which I confess to downloading and playing until I reached the highest level of

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achievement the “A-list”) as well as her own line of emoticons, Kimoji, also available for

purchase on the iPhone App Store.

In May of 2015, Kim Kardashian released a book of selfies, titled Selfish, by U.S.

publisher Rizzoli, a company that specializes in fine and applied arts publications (Rizzoli

Publications). The first book of its kind, with 445 pages, the book “presents some of Kim’s

favorite selfies in one volume—from her favorite throwback images to current ultra-sexy glam

shots—and provides readers with a behind-the-scenes look into this larger-than-life star” (Rizzoli

Publications). The selfies selected for the book were curated to "a small fraction of the thousands

of selfies [they] considered for publication” (Kardashian). The book has been successful “with

total trade sales of approximately 125,000 copies, domestic and international” (Webber). Critics

questioned why the public would purchase it when they could peruse her Instagram account at no

cost. However, Kim’s marketing efforts through various platforms prompted fans to purchase the

book, thereby solidifying her status as a social media trailblazer.


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 THE IDEALIZED LOOK

Fig. 6: (Kardashian)

The concept of the idealized female look changes throughout time and cultures. An

important aspect of Kim’s selfies is how she portrays and positions herself to convey the

idealized look of female beauty. As Kim is predominantly the focal point in the majority of her

selfies, her creation of glamour creates a visually interesting picture for her audience, as we can

see in Fig. 6.

To begin, Kim uses body language, positioning herself with her body facing the front

which normally would portray her as open-minded, trustworthy, and sympathetic. However,

because her head is angled slightly to our left, in a three-

quarter profile, this creates an overall feel of contempt and

superiority within the picture. Her arms spread take up a lot of

space in the image, such open body positioning conveys

confidence. Additionally, her arms create leading lines Fig. 6: (Kardashian, Edited Detail)

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directing our eyes to the focal point which is her face (Van Edwards).

The photo is taken from a bird’s eye view which thins her nose and jawline. A flirty air is

created by her head tilted downwards and her pout with her mouth slightly parted. The pout adds

to the flirtatious vibe and helps to emphasize her cheekbones. Meanwhile, another alluring part

of the photograph would be the combination of colours. In this image Kim combines contrasting

gold/yellow hues with black creating a warning-like effect (Color Wheel Pro - See Color Theory

in Action). This combination makes all of the elements in the photo which are yellow stand out,

like her eyes and her chest.

Kim would be considered to fit into the societal standards of the female beauty as her

facial features portray heightened secondary sexual features and good skin health and colour.

These qualities are seen as universally attractive as they present the individual who possesses

them to have good genes. These traits have been attractive throughout evolution as they

showcase to potential partners hereditary benefits that would make their child healthier and more

likely to survive. Kim displays emphasized secondary sexual features with her large chest, full

lips, high eyebrows, lack of brow ridge prominence, thin jaw, and soft facial features like her

nose and cheeks (Cohen). These features amplify Kim’s femininity and add to her portrayal of

idealized beauty. Another contributor to her beauty is her favourable skin health and colour. Her

skin is smooth, without any pimples, moles, or skin tags. Her colouring, although somewhat

distorted by the flash, is very consistent throughout. It matches the rest of her body and is absent

of any discoloured patches or red blotches. Her skin is an indicator to overall good health and is

also seen as universally attractive (Benedict, DeBruine, Little).

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 Fig. 6: (Kardashian)
Fig. 7: (Kahlo)

Many aspects of Kim’s portrayal of female beauty are comparable to those of Frida Kahlo

in her “Self Portrait Dedicated to Dr Eloesser”. Kahlo, like Kim, portrays good skin health and

colouring. In fact, Kahlo follows female Mexican standards of beauty at the time with rosy

cheeks and red lips. However, Kahlo strays from Western (including Mexican) beauty norms

with her unibrow. Her unibrow created a statement, challenging societal beauty norms, it is

symbolic of her strength and rebellious nature.

With respects to composition, both self-portraits are very similar. Kahlo’s face is not quite

centered within the painting but slightly to the right, while Kim’s face is a tinge to the left.

Additionally, both artists’ profiles are using a three-quarter view. Yet, with Kim’s eyes facing

forwards she creates an air of contempt, like aforementioned, but Kahlo’s eyes looking to the

side showing detachment in a regal in a dignified matter.

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 All of these aspects together depict Kim as a version of the idealized standard for female

beauty. Kim’s portrayal of glamour and beauty create an aesthetically appealing self-portrait to

all viewers, similar in the manner used by Frida Kahlo.


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 DISTRIBUTION OF ELEMENTS OF DESIGN

Fig. 8: (Kardashian)

In this selfie, Kim positions herself asymmetrically. However, she balances the photo

using many elements of framing, making her face the focal point. The direction of the bricks on

the back wall have created lines that lead our eyes towards her

head. She has cleverly framed her face by placing it in front of

a section where the bricks deviate from

their uniform straight lines and curve

creating an arc above her head (10 Top Fig. 8: (Kardashian, Edited Detail 1)

Photography Composition Rules).

Fig. 8: (Kardashian, The texture of the bricks seems cracked, wrinkling, and rough creating a
Edited Detail 2)
contrast to that of her skin which appears smooth and creaseless. The green

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colour of the wall portrays an idea of harmony, freshness, and growth (Color Wheel Pro - See

Color Theory in Action). The idea of freshness is also reinforced by the rosy colour in her

cheeks. The white of the couch connects to the whites of her eyes, which helps associate her face

as the focal point. The white also creates a stark contrast to her black shirt, hair and facial

features.

Our viewpoint is slightly above eye-level, this angle elongates the nose and narrows the

chin.The line of the top of the white couch she is sitting on

directly parallels her jawline which in return parallels her

cheekbone. This parallelism emphasizes the sharpness of her

jawline and the thinning of her face giving an air of delicate

Fig. 8: (Kardashian, Edited Detail 3)
femininity.

There is a softer reflection of the white couch that establishes depth in the photograph,

creating a background (the green wall) and placing Kim in the

outmost foreground. The reflection also connects to her jaw and

appears to be a continuation of it, once again putting focus on her

face. The rather bare background ensures that all of our focus is on

Kim. This technique is also used in Rembrandt Van Rijn’s “Self-

portrait”. Rembrandt makes himself seem three-dimensional as he

uses a lighter brown around his face and dark brown in the
Fig. 9: (van Rijn)
periphery.

The depth creation is similar to Kim’s selfie in which the reflection of the couch distances

Kim from the background making her pop. Both artists’ faces stand out against their dark

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 Fig. 9: (van Rijn, Edited Detail 1) Fig. 8: (Kardashian, Edited Detail 4)

backgrounds making their faces seem even more three-dimensional as well. For Rembrandt,

his pale white skin is contrasted by the dark brown; meanwhile for Kim, her fresh golden

complexion is contrasted by the dull dark green.

Interestingly, both artists’ have very different approaches to their body positioning in their

composition of their portraits. Rembrandt’s body is angled to the side while his face is turned

towards the front. He places himself centered in the middle of the portrait. Kim’s body language

is similar to that of Fig. 6, her chest is facing forwards while her head is angled in a three-quarter

view of her profile, once again creating a mood of superiority. However, like previously stated,

her body is placed to the right.

The new perspective that contributed to Kim’s visually compelling self-portrait is due to

the highly realistic treatment of her face and dramatic off-center composition.

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 CAPTURING THE MOMENT

In contrast to typical rules of portrait art, Kim manages to create a visually interesting

photograph through capturing the moment. In art, capturing the moment means an artist has

immortalized a scene that reproduces a unique moment in time and will likely evoke some

nostalgia or personal reflection. The nature of digital instant record and the purpose of this type

of artwork is to show the sitter in a dynamic movement in order to emphasize the action and the

setting. This style of self-portraits can be contradictory to my aforementioned arguments: the

concept of the female idealized look, and composition as a design principle dealing with

distribution of elements of design. This is because this style of portrait is often so spontaneous

that focus of attention changes (formal design principles are foregone) in order to catch the

emotion and action before it is lost. This is evident in Fig. 10, my main image that I will

compare to the supporting image, Fig 11.

Fig. 10: (Kardashian) Fig. 11: (Velasquez)

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 As we can see in Fig. 10, Kim is positioned in the lefthand edge while the focus of

attention, the elephant, takes the spotlight. In this style of self-portrait, the sitter is

usually off-centre and the content of the action takes precedence. As evident in the

photo, Kim is making an awkward face which opposes how she typically will pose for

a selfie looking her absolute best. In this picture, she is positioned at an unflattering

angle without her whole head in frame, and looking somewhat uncomfortable. Fig. 10:
(Kardashian,
Detail)
The focus of attention is the action, itself, not the artist, and the self-portrait

may sometimes appear awkward, unusual, or even hidden. This is also apparent in “Las

Meninas”. Diego Velasquez purposefully placed himself to the left of the painting, making

himself an extraneous detail that could go unnoticed if

glanced at briefly. The main purpose of his painting was to

paint a Spanish princess and his role as an artist. He shifts

the focus from himself to the sitter by the use of lighting in

the painting. The source of light comes from what seems like

a tall window to the right and falls on the young girl,

positioned in the centre of the piece, making her the focal

Fig. 11: (Velasquez, Edited Detail)
point, while Velasquez stands in the dark. Velasquez, like Kim,

appears awkwardly in the photo. However, in this sense he seems almost outcast from the

happenings in the painting as if he’s an onlooker unable to participate in the adventures of the

rich and noble.

Both self-portraits have purpose to portray the emotion of the artists. In Kim’s selfie, her

face gives an impression of being incredibly nervous but with a tinge of excitement to meet this

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elephant. Whereas Velasquez looks somewhat lonely and unappreciated. The painting captures a

specific moment in his life and demonstrates his disposition to it. “Las Meninas” depicts what his

life is like as a renowned portrait artist.

In a self-portrait, the artist tries to capture the moment in time to dictate the past and

future. This moment is part of the time sequence that contributes to the story-telling and

understanding of the role of the artists and their emotion within the composition. These self-

portraits serve almost like a visual diary. Looking at them shows the age of the artist, their

setting, their actions and emotions towards all of this. They permit artists to look back and reflect

upon their emotional status and momentous life events. In conclusion, this type of self-portrait

contributes to the portrayal of the sitter because it gives a new dimension of space and time,

allowing audiences to gain a deeper connection and understanding of the artist.

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 CONCLUSION
To conclude, Kim Kardashian should be considered a self-portrait artist, as her selfies

express a contemporary form of self-portraiture because she effectively depicts the conceptual

female idealized look, through body positioning, proportion and facial features, and the portrayal

of beauty in different ethnicities. Therefore creating an aesthetically appealing self-portrait. The

elements of design are sufficiently distributed, with principles brought forward like the focus of

attention, contrast, and space within her selfies to make visually interesting portraits. Finally, she

successfully captures the moment in another of the selected selfies contributing to the her

portrayal to the public. She achieves this through immortalizing her action in a new dimension of

space and time, and thus giving deeper connection and understanding of her character and life.

Even a year after publishing Selfish, her book of selfies, I was unable to find any formal

art criticism on her selfies. This may be due to the fact that her selfies may still not be considered

formal portrait art. This proved difficult to double-check my analysis and required a lot of

original thought based off my knowledge and research of principles and elements of design,

beauty ideals, and capturing the moment in art. I limited my scope of the essay by comparing

Kim Kardashian’s selfies to famed traditional self-portraits. I chose to do this because the works

I selected were already very established in the art community and were innovators of their time,

putting forwards now highly recognized principles of design. In contemporary art, digital

technology has had a large impact on self-portraits, and the advancement of technology

continuously improves the quality and form of selfies, something that could be explored further

in a variety of contexts. 


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