In the late 1970s, Tennessee Williams frequently visited London, feeling that European stages were more catholic than New York’s and thus open to producing his plays at a time when America was growing less tolerant of his brand of theatre. While in London, Williams would often visit celebrity painter Michael Garady and swap writing for painting lessons.
When Tennessee Williams swapped his pen for a paintbrush, his tendency to use his lived experiences as source material did not alter much. He often painted places he’d seen, people he knew, or compositions he conjured up in the limekiln of his imagination. Although Williams painted more frequently later in life, precisely as a creative outlet when his brand of theatre was no longer in vogue, he had started sketching and painting from a very early age. To follow his career as a painter is, to a large extent, to trace his life’s alterations, physically, of course, but also emotionally.
Are today’s selfies simply yesterday’s self-portraits? Is there really that vast of an epistemological chasm between Kim Kardashian’s photos of herself on a bloated Instagram account and the numerous self-portraits of Rembrandt or Van Gogh hanging in art museums and galleries around the world? Aren’t they all really just products of their respective eras’ “Je selfie, donc je suis” culture, with perhaps only technological advances (and, admittedly, talent) separating them?