Her series, Libert & Company, is an exercise in self portraiture, but also allows a ringside seat into a family that is comfortable in it's own wealthy skin and not making excuses for a privileged lifestyle. By shining a spotlight on the world that is most familiar to Elizabeth, it is a cathartic expression of simply accepting who she is and what she has.
2011 is proving to be a good year for Elizabeth. Her work was selected for the New Directions exhibition jurored by David Bram at Wallspace Gallery and was also selected for The Summer Show Project at the Michael Foley Gallery in NYC. Her work is also included in the first edition of 50pm,"Family Matters", a photography magazine iPad app by Daylight and Bite! In addition, Elizabeth has self-published Libert & Company through Blurb.
“Libert & Company” is a photographic study of a financially and socially privileged New England family that I know well—it is my own. In the past I found myself hesitant to share photographs that evidence the “privileged” background that I grew up in, especially given the current state of the economy. This current body of work addresses my ambivalent attitude towards this aspect of my life. I often experience various emotions such as pride, embarrassment, guilt, and relief. With that in mind, I have started to photograph familial characters of this wealthy circle in a way that captures a certain, wavering insecurity – my projected insecurity.
The Libert Family, Cambridge
The result is a series of images where discomfort and awkwardness are present. Sometimes this unease is evident in the subjects’ ambiguous facial expressions and gestures in relation to each other and their environment. In other situations, the characters display an obvious self-awareness and, at times, sense of entitlement. Much emphasis is placed on aesthetics, whether it be one’s own personal appearance or with external surroundings, such as home decorating. There exists a desire to not only fit in, but to impress and fulfill the high expectations set by prior generations. As the photographer and occasional subject of these images, I too embody these characteristics.
Whippets, Palm Beach
I ultimately consider this body of work to be both a self-portrait and critical view of my life, one that intends to both please and disgust the audience.
Liz and Mardee, Palm Beach
Half-Bath, Cambridge
Andy, Joy, and Jeff, Palm Beach
Sugar Having her Breakfast, Savannah
Mardee at Mooo, Boston
Jeff at his Desk, Newton
TV-Room Bar, Cambridge
Liz and Andy Before Dinner, The Silver Spirit
Dan and Liz in the Rolls, Palm Beach
Benedict Flying Home
After the Barney’s Sale, New York City
Mardee’s Shoes, Palm Beach
Clock and Chair, Milton
Liz Getting her Hair Done, New York City
Jack Kennedy and Mardee After the Service, Savannah
Jeff, The Libert-y
Dan at Brunch, Palm Beach
Whippets, Palm Beach
6 comments:
I really admire Liz for having the guts to turn the camera on herself, her family and their elite way of life. And I understand her former desire to keep this part of her life hidden. The rich are generally more disliked than the poor. Just consider all the photo essays on the poor. How many can you name that feature the rich? Martin Parr is the only photog that comes to my mind and, of course, he is always very tongue-in-cheek.
I hope Liz will keep exploring this subject. It feels to me like she has just scratched the surface. It won't be easy nor will it be popular, especially with her family, but if she can get past the Upper Class masks and show us these real live people with all their warts and raw feelings, it could really change our attitudes, and isn't that what it's all about?
Speaking of Barney's...Tina Barney also comes to mind.
David, I was thinking the same thing. This work is almost identical to everything Tina Barney did In the 80s and 90s. I actually thought that Liz was paying homage or at least crediting Tina with the photgraph titled "After The Barney's Sale." That doesn't seem to be the case though.
Is the photographer allowed to respond? I think it will amuse/satisfy David and Brandyn to know that Barney is huge role model for me and I actually had the fortune (pun intended?) to have her help advise me in my project. The "Barneys" photograph wasn't a nod to her, but maybe I will pretend I did intend that from now on! I have, however, created homages to her work in other images.
I definitely don't want my work to rip hers off and strive to bring up different issues and in a different style - more candid/off the hip with some focuse on themes such as substance abuse. However, I agree with Patricia - I do think I scratched the surface and could do more to get deeper. Not sure how to just yet - but will always be working on it...
Thanks Elizabeth..
I think it's so important that we explain and understand our intensions...and David and Brandyn, as someone who looks at tons of photography, it's rare to see something that wasn't inspired or influenced by something or someone else.
Patricia Lay-Dorsey posed a question in her comments: How many [photo essays] can you name that feature the rich? Only one came to her mind, Martin Parr's. Another one came to mine, Tina Barney's. My answer/comment was in no way a slight on Elizabeth Clark Libert's photographs. We photographers—myself included—are all influenced by the work of others.
I wish the best for Elizabeth as she continues to explore this rich (ahem) vein through her own unique lens.
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