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There is the art object, whose subject is an objectified image of itself as subject. There is the subject, whose object is a subjectified image of itself as object. Illustration denotes, image connotes. In , when Barthes wrote his pivotal essay that differentiated between connotation and denotation, photographs were considered representational, paintings illusionary. Barthes was arguing for reading photos critically, a critical chore we now take for granted.

In the age of Photoshop, photos contain arguably less truth-quotient than paintings, and paintings have arguably more validity by way of overt artifice—a painting is a painting. Thus, the photo acts as an illustration, denoting the properties of the thing represented, while a painted image has multiple connotations, including the literary.

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God is dead, but we have Wearing. There is no body that cannot be altered for commodification, and no body that cannot be commodified.


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The only boner here is a self-reflective joke, the gag of the self-made man. Publicity is always about the future buyer. It offers him an image of himself made glamorous by the product or opportunity it is trying to sell. The image then makes him envious of himself as he might be.

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Yet what makes this self-which-he-might-be enviable? The envy of others. Publicity is about social relations, not objects. Its promise is not of pleasure, but of happiness: happiness as judged from the outside by others. The happiness of being envied is glamour. In Pin-Ups , the sobject articulates the desirability of that which it now possesses, confirming that the experience of the objective world is also a universally subjective characteristic.

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It is important here that the sobject speak, because it is this tendering of self as self-made that plugs the gap between what is imagined and what is real. Rewritten into a photo that has been turned into a painting that looks Photoshopped. But there is no inside and outside, simply a hinge, the shutter that snaps open and closed.

To be envied by oneself as an other, and as a self by others—to become that which is desired by way of desire and to live to tell the tale—is our post-Lacanian wet dream. There is no escaping the loop.


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