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Edvard Munch's photography on display at National Nordic Museum
The Experimental Self: Edvard Munch's Photography displays his photographs and films in a way that emphasizes the artist’s exploration of the camera as an expressive medium.



SEATTLE, WA.- After a successful run at New York’s Scandinavia House that received great reviews from New York Times and others, the photography of Edvard Munch is currently on display at the National Nordic Museum in Seattle now through January 31, 2021. Curated by distinguished Munch scholar, Dr. Patricia Berman of Wellesley College, The Experimental Self: Edvard Munch’s Photography presents works from the rich collection of Oslo’s Munch Museum and shares new research on one of the most significant artists of his day.

“After displaying the journalistic photography of Jacob Riis this spring and discussing a picture’s power to change lives, it is wonderful to host another celebrated Nordic artist whose photography reflects the artistic potential found in the camera of the late 19th and early 20th century,” said Executive Director/CEO Eric Nelson.




Internationally celebrated for his paintings, prints, and watercolors, Norwegian artist Edvard Munch (1863–1944) experimented with both still photography and early motion picture cameras. The Experimental Self: Edvard Munch's Photography displays his photographs and films in a way that emphasizes the artist’s exploration of the camera as an expressive medium. By probing and exploiting the dynamics of “faulty” practice, such as distortion, blurred motion, eccentric camera angles, and other photographic “mistakes,” Munch photographed himself and his immediate environment in ways that rendered them poetic.

“In many ways, these works reveal an unknown Munch,” said Leslie Anne Anderson, Director of Collections, Exhibitions, and Programs at the National Nordic Museum. “The photographs were never displayed during the artist’s lifetime, and this exhibition invites visitors to peer into the keyhole of Munch’s private life.”

“…these photographic images of the artist rise to the level of what Munch called “selfscrutinies”: emotional but hard-edged, and pierced with a dread of modern life that has outlived the Modernist era.” – New York Times

“..an unfinished playfulness with technical manipulation and subject matter that is not as readily seen in Munch’s more well-known work” – Hyperallergic










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