The boldest genre of late-twentieth century postmodern photography, the feminist self-portrait survives in the ceaseless experiments of Rosemary Warner, who began her voyage of self-discovery in the 1990s and has not yet stilled the agonies of existence. An inveterate postmodernist, Warner does everything from scratch negatives, pile multiple images into her compositions, segment her works, tone the aesthetic surface, deploy multiple exposures, and mix up her subjects—and that is only the beginning.
