Talia Chetrit is her own most frequent subject, photographed in various stages of dress. Measured, formalist, and undeniably beautiful, the self-portraits drawn on and deauthorize a tradition of female nudes in photography. Chetrit is interested in the social dynamics of viewership, exploring how the presence of a camera affects the behavior of her subject, perhaps exposing latent conditions or creating new ones, and in turn how the experience of viewing her works can activate unconscious impulses or preconceptions. Bodies sometimes seem like objects in Chetrit’s work, and sometimes this dynamic is inverted. She also photographs her body parts touching or close to objects, usually hard things like chains and vases, recalling early twentieth-century modernist and surrealist photography, a realm in which male artists often photographed objects and women’s bodies as coequal subjects of formal exploration. Chetrit reauthors this relationship, both overdetermine and subverting it.

Talia Chetrit is currently the subject of her most comprehensive solo exhibition to date at 10 Corso Como in Milan. Her work has recently been exhibited at The Wadsworth Atheneum Museum, Hartford (2024); Phileas, Vienna (2023) and MARTa Herford, Herford (2021). Her work is held in the collections of the Whitney Museum of American Art, New York; The Jewish Museum, New York; LACMA, Los Angeles; FRAC Corsica, Corte. Chetrit was a finalist for the 2018 MAXXI Bvlgari Prize.