Claudia Andujar Horizontal 2 from Marcados series (1981-1983) Courtesy Galeria Vermelho

Room 11 in Artist and Society

Portraits and Community

Urvashi - Staged Portrait, Gulmohar Park, Delhi

Sheba Chhachhi, Urvashi - Staged Portrait, Gulmohar Park, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

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artworks in Portraits and Community

Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi

Sheba Chhachhi, Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi  1986, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

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Sathyarani - Anti Dowry Demonstration, Delhi

Sheba Chhachhi, Sathyarani - Anti Dowry Demonstration, Delhi  1980, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

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Vertical 8

Claudia Andujar, Vertical 8  1981–3

Vertical 8 is a sequence of three vertical format black and white portrait photographs showing two men and a woman that are displayed side by side in a row. This grouping of images derives from a series of eighty-two photographs titled Marcados (meaning ‘Marked’ or ‘Branded’) taken by the photographer Claudia Andujar in 1981 and 1983. All of the images depict members of communities of Yanomami Indians from the Brazilian Amazon region. The photographs were taken as identification images during the first vaccination campaigns targeting Yanomami communities who had come into contact with outsiders – and were thus vulnerable to diseases such as measles and malaria – largely through activities such as mining and road-building which had begun to encroach on their territories from the late 1960s. Andujar had first become involved with and begun to photograph the Yanomami in the early 1970s. She had also established the Comissão pela Criação do Parque Yanomami (Commission for the Creation of a Yanomami Park, or CCPY). It was under the aegis of this organisation that she led the first vaccination teams, composed of two doctors and herself, in 1981 and again in 1983. Images of the Indians wearing numbered labels round their necks were taken for identification as Yanomami personal names are subject to strict taboos of secrecy. The portraits were set against different backgrounds, in this case almost black, to identify different communal groupings.

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Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

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Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

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Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

© Paz Errazuriz

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Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

© Paz Errazuriz

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artworks in Portraits and Community

Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

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artworks in Portraits and Community

Horizontal 2

Claudia Andujar, Horizontal 2  1981–3

In 1971 Andujar began to photograph Yanomami communities in the Amazon region of Brazil. Mining and road-building had begun to encroach on Yanomami land. This led to outbreaks of diseases such as measles and malaria. Andujar started a vaccination programme. Yanomami culture restricts the uses of a person’s name. In identity photographs for the vaccination programme, individuals are identified by number instead. Presenting these images within an artwork, Andujar examines the boundaries between art and activism, and the complexities of cultural negotiation. The work raises questions about the relationship between an image and the purpose of its creation.

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Susan Meiselas, 20 dirhams or 1 photo?  2014

Meiselas made this work during a two-week residency in Morocco. She set up a pop-up photographic studio in a spice market in Marrakech. Working with Moroccan photographers Imane Barakat and Laila Hida, she invited women who worked there to have their portrait taken. Each participant was given a choice: she could either receive the print of her portrait or a payment of 20 dirhams (approximately £1.60). By accepting the payment, a participant gave the artist permission to keep and exhibit the print. Through this process Meiselas raised questions about identify and the ownership of one’s own image.

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Radha - Staged Portrait, Anandlok, Delhi

Sheba Chhachhi, Radha - Staged Portrait, Anandlok, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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artworks in Portraits and Community

Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

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Urvashi - Anti Dowry sit-in, 1982

Sheba Chhachhi, Urvashi - Anti Dowry sit-in, 1982  1990–1991

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

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Urvashi - Street play, ‘Om Swaha’, Mehrauli, Delhi

Sheba Chhachhi, Urvashi - Street play, ‘Om Swaha’, Mehrauli, Delhi  1982, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Shanti - Staged Portrait, Dakshinpuri, Delhi

Sheba Chhachhi, Shanti - Staged Portrait, Dakshinpuri, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Shahjahan Apa - International Women’s Day gathering, Dakshinpuri, Delhi

Sheba Chhachhi, Shahjahan Apa - International Women’s Day gathering, Dakshinpuri, Delhi  1980, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Sathyarani - Staged Portrait, Supreme Court, Delhi

Sheba Chhachhi, Sathyarani - Staged Portrait, Supreme Court, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Shahjahan Apa - Staged Portrait set-up, Nangloi, Delhi

Sheba Chhachhi, Shahjahan Apa - Staged Portrait set-up, Nangloi, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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artworks in Portraits and Community

Shahjahan Apa - Staged Portrait, Nangloi, Delhi

Sheba Chhachhi, Shahjahan Apa - Staged Portrait, Nangloi, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Shanti - With children, Dakshinpuri, Delhi

Sheba Chhachhi, Shanti - With children, Dakshinpuri, Delhi  1989, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Shardabehn - Public testimony, Police Station, Delhi

Sheba Chhachhi, Shardabehn - Public testimony, Police Station, Delhi  1988, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Devikripa - Staged Portrait, Seemapuri, Delhi

Sheba Chhachhi, Devikripa - Staged Portrait, Seemapuri, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Devikripa - Sikh widow, Trilokpuri

Sheba Chhachhi, Devikripa - Sikh widow, Trilokpuri  1987, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

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Devikripa - Sit-in, Family Planning Centre, Nandnagari, Delhi

Sheba Chhachhi, Devikripa - Sit-in, Family Planning Centre, Nandnagari, Delhi  1988, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Radha - Staged Portrait Set-up, Anandlok, Delhi

Sheba Chhachhi, Radha - Staged Portrait Set-up, Anandlok, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Sathyarani - Staged Portrait, Punjabi Bagh residence, Delhi

Sheba Chhachhi, Sathyarani - Staged Portrait, Punjabi Bagh residence, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Shardabehn - Staged Portrait, DTC bus, Terminus, Delhi

Sheba Chhachhi, Shardabehn - Staged Portrait, DTC bus, Terminus, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Art in this room

Urvashi - Staged Portrait, Gulmohar Park, Delhi
Sheba Chhachhi Urvashi - Staged Portrait, Gulmohar Park, Delhi 1990, printed 2014
Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi
Sheba Chhachhi Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi 1986, printed 2014
Sathyarani - Anti Dowry Demonstration, Delhi
Sheba Chhachhi Sathyarani - Anti Dowry Demonstration, Delhi 1980, printed 2014
Vertical 8
Claudia Andujar Vertical 8 1981–3
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008

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