EXAM 3: Key Figures

Alice Miceli

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Anaïs Tondeur

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Arnaud Maggs

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David McMillan

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Gerd Ludwig

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Rick Dingus

- Figure 33. Rick Dingus, Witches Rocks, Weber Valley, Utah, 1978. From the "Rephotographic Survey Project" (1977-80).

Annette Messager

- Installation artist who was Boltanski's partner - Appropriated images from magazines, - See Fig. 17

Yves Klein

- Leap into the Void, 1960. - French Conceptual artist - He's very well known for the leap into the void. - One of the postmodern artists whose reflecting back on Duchamp's idea.

Richard Prince

- Uses another example of re-photography in postmodern tense of the word. - Postmodern

Doug and Mike Starn

American (twins) 1961-present - NOT originators of postmodernism, but postmodern already developed to a certain level. -

Sergey Gashchak

Figure 66. Sergey Gashchak, Przewalski's Horse, Chernobyl Exclusion Zone, 2014. Camera trap.

Yasumasa Morimura

L5, 15:00 - Figure 31. Yasumasa Morimura, Futago (Twins), 1988.

Igor Kostin

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Janine Antoni

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Lyle Ashton Harris

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Marcel Duchamp

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Vladimir Migutin

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Ydessa Hendeles

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Robert and Shana ParkeHarrison

- All of these photographs are constructed, fabricated, elaborate sets, all made from found objects. They do this to combine these scenes with real and constructed landscapes. What they're trying to do is that they're showing the deconstruction that we bring to the world and they're kind of displaying this long and painful road to extinction. - All of these photographs are constructed, fabricated, elaborate sets, all made from found objects. They do this to combine these scenes with real and constructed landscapes. What they're trying to do is that they're showing the deconstruction that we bring to the world and they're kind of displaying this long and painful road to extinction. - They're creating work advocating for change, that's not only visually appealing but doing this to evoke change and to send a greater message about the environment and how we are connecting with it. - Figure 27. Robert and Shana ParkeHarrison, Visitation, from Earth Elegies, 1999-2000. - - - - -

Catherine Opie

- Called herself a leather Dyke and lesbian artist in which the work as she produced it proved to be A very empowering experience for her - Looking at a series of lesbians, or Dykes as would be used for each and everyone of these individuals, was produced in 1991 After the publication of Judith Butler gender trouble, Who was a critical theorist who was among the first to highlight that gender is a constructed notion. - Yes, you're born with certain male or female attributes, but she's more interested in pointing out the way in which culture determines gender and the way in which we teach children through color and clothing and so forth in order to act a certain way. - This particular series is all about going with The awkward sign of gender displayed by the subject. - She's doing this to lambast the notion of gender as stable, unified, and in any way natural. that language is perfectly aligned with Judith Butler. - For her, the series was really an opportunity To show that lesbian sexuality is in and of it's self heterogeneous and complex. - Everyone of these individuals is toying with the signs of masculinity and their party names are attached to the frames on this little plaques. - If you don't pay much attention, they could be noticed as guys - This work, and most of her work, has a serial nature to it. - -

Krzysztof Wodiczko

- Concerned individual with impact of war and violence on individual lives. He's aiming to use this art for social justice, to break the code of silence, to open up and speak about what's the unspeakable oh, and doing it at such a large-scale, how he's moving his art into the public arena. - - - - - -

Christina Leslie

- Figure 40. Christina Leslie, EveryTING Irie, 2006. - Is of Jamaican descent - Decided to do work that actually deals with her family, and having the experience coming to Canada. growing up in Jamaica, you can imagine these people have never seen snow. - It is a work that is very performative. It is written to echo in a sense the patois of Jamaican people, which is the way they speak, sort of a broken English. they talk about their experience, what's this thing about snowflakes, what's this thing about Christmas trees, etc. Includes members all from their own family. - Part of what she's asking us to do in a way is to put ourselves in the shoes of these people I actually in a way embracing a colonialism, when people come in and they impose their own language, and here she's asking us to do that in reverse, to put ourselves in the shoes of these people so to speak to try to speak to them, with them, in their language to reflect their own experience.

Vid Ingelevics

- Figure 41. Vid Ingelevics, Attention: Mr. Inglewick, still from DVD projection, 2004. - A collection of envelopes. Vid is an artist, sort of like Hans Haacke, who to work from actual archival material. - Around 2003, his father passed, and while going through his belongings, clearing it out, he came across a stack of envelopes that had been addressed to his father over a few decades. His father came from Lativa, worked in a shipping department of a company in Toronto, for a transport company, and certainly was well aware of his son's interest and are making and somehow had collected these envelopes never having shared them with anybody in the family, envelopes that had his name misspelled. - All he did was made close-up photographs of parts of the envelopes that his father had collected more than likely to keep track of the way in which his name had been bastardized since coming to Canada. he took a video of all the photographs he took, made video, and put them in alphabetical order given the misspelled names. - This is funny, but also tragic in the sense that you wonder if these people were trying to send him a message that he should go back home. - Connection with Hans Haacke because there is 0 transformation of the material.

Yuri Marder

- Figure 42. Yuri Marder, Luna, 2000, from The Exile Project, 1992-present. - Lived in the cosmopolitan city of New York and actually went around, photographed and interviewed people who live in a language other than their own. - Each of these portraits include words by the sitters themselves and they're all inscribed in their own script, their own written form as part of the images as well. All of them are accompanied with a translation in the catalog as well as the expectation. - They are identified with their first name only oh, the date when the photograph was made, the cultural heritage. Somalia is one of the most troubled places in the world right now.

Gu Xiong

- Figure 45. Gu Xiong, I Am Who I Am, 2001-2006. - Canada has a very long history of Chinese people coming to Canada in the early 19th century to build railways and they've always been seen as second-class citizen for many years. Toronto is actually the second largest Chinese neighborhood/population in North America after San Francisco. - He decided to make portraits of Chinese heritage and have the words they appear to utter in these works. These were words that were actually crafted by the artist.

Sara Angelucci

- Figure 48. Sara Angelucci, Everything in My Father's Wallet / Everything in My Wallet, 2005. - Once you take a look at it, it becomes very interesting - First, you read the title which reads: " Everything in my father's wallet, everything in my wallet" - The story behind this work: in about 2004, her niece came up to her ask for advice on what to do because she loved her, she said she had a box. Her father died a number of years ago and have not looked into it ever since he died. when she opened the box she found a bunch of different stuff including her father's wallet, which had remained intact since his passing with nothing added or removed. she recognized that the objects in her father's wallet could be read very much as a portrait of him because it had picture of his believed wife's parents, then a bunch of Canadian stamps, membership card to the United States, never learned English properly, worked in a steel mill in Hamilton so he had a badge of pride from there, had a ticket that he never used, mathematical sort of equation oh, and a photograph of somebody that was probably a buddy of his sometimes in the military that Sarah had never ever heard his father speak of. - She realized that when you start looking it actually created a portrait of this man, who came to America and carried his portable identity through his wallet and she wanted to do a piece about that. - Realized if she's going to put her dad on the line, she's also going to put herself on the line, and also did the same thing, which equally presents a story which tells much about herself. - One can learn a great deal about who we are by looking at what's in our wallet.

Alina Rudya

- Figure 60. Alina Rudya, The Artist and Her Mother, 17 Lenin Avenue, Apt 24, Prypiat, Chernobyl Exclusion Zone, 1986 and 2011. - Made book called "Pripyat mon Amour." - The first thing she found on the floor was a photograph of herself next to her mom which she knew because her father deemed that picture to be his favorite and he was kind of an amateur photographer and he had another print at least. She knew growing up that there was no other print of that, but that one was left there and so when she went into her apartment, she knew that was it, so it gave her the incentive to actually revisit the town in a number of interesting ways. she also saw her apartment, and took photographs trying to put herself in the same situation. She went to visit the table in which her parents had met for the first time, and a tree is growing there in the spot.

Maxim Dondyuk

- Figure 61. Maxim Dondyuk, Found Photograph, from Untitled Project, Chernobyl Exclusion Zone, 2016-present. - Recently did his own visit there and started to find all of these photographs everywhere, rolled up and what not, so he decided to see if he could collect these pictures and restore them, at least make copies of them. These were pictures of people that we're just like the rest of us.

Niels Ackermann

- Figure 62. Niels Ackermann, Dimi and Yulia, Slavutych, Ukraine, 2012. - Did not go there to do the project he wanted to, but discovered something. He went to one of the newest towns in Ukraine that was built far enough from the power plant not to be within was on, but close enough for people to get back to work. He ended up focusing on the teenagers Growing up in that town who have absolutely no future. did a wonderful book about living and growing up in a town that was built as a replacement for Pripyat for those who continue to live there to maintain the power plant, which can't be shut down. Exploring the setting-up of this woman's wedding was something very related to Chernobyl but not an aspect we're not familiar with.

Byron Wolfe

- joined Mark Klett 20 years after having started the Re-photographic survey project and went back to take a third view, in their case, second sights of the same place.

Rena Effendi

- Figure 63. Rena Effendi, Hanna Zavorotnya, Chernobyl Exclusion Zone, 2010. - She went to the zone to look at the people who have returned. A number of people were evacuated, but they ended up saying I was born here and I shall die here. She went and photographed people and also made still life with play on word. She would me mostly older woman who has lived there who are miles away from anybody and there is nothing but their field that they grow on.She makes portraits and still life of their environment. These people are very faithful. - This particular woman, Hannah, is a bit of a celebrity. She became one of three woman featured in a movie, "The Babushkas of Chernobyl." She lives alone and is completely fearless.

Pierpaolo Mittica

- Figure 64. Pierpaolo Mittica, Yitz Twersky Praying at the Tomb of Grand Rabbi Menachem Nochum Twersky, Chornobyl, 2019. This is a Jewish Orthodox visiting being photographed by an Italian photographer Pierpaolo Mittica. This is a Hasidic Dynasty that comes out of Chernobyl. He went there in 2017 to visit the tomb of his ancestor the holy place of the city Jews and every day of the anniversary this is a dynasty that was created there in the 18th century. Every year they go there this was the dynasty that was chased out of Chernobyl for a number of reasons the pilgrim first and then by the Nazis in the early 20th century, This is one place marking the grave of many Chernobyl Jewis kids during the Holocaust what is amazing is you go to the cemetery which is abandoned, and yet Hasidic Jews from around the world still go back and get buried there which is very extraordinary. - This is a man who traced the origin of 50,000 relatives of having the roots in Chernobyl. They all wrote notes with little names and he's prepping at the tomb of the grand rabbi. He found the descendants in 31 different countries.

Paul Fusco

- Figure 65. Paul Fusco, Novinki Children's Mental Asylum, Belarus, 1997-2000. - He focused most dramatically on the effect it had on people photograph kids with cancer, Be abandoned children who live in so-called Asylum living in a nasty situation, being abandoned and having deformities.

Edward Ruscha

- LA, Cali-based photographer - Played a key role in the reappearance a photography as a medium of representation, and also architecture (an interest) - Used an Artist Book: A book conceived and produced By the artist themselves, as opposed to going to a publisher. (Not necessarily meant to be lavish or luxurious) Small booklets, very uniform design, minimal subject identification, very little text, it's him playing with images. Titles are very explicit. - Don't judge a book by its cover. Ruscha wanted to turn that around and be absolutely literal in what the title suggests. - They were all predicated on the notion of multiplicity and mechanical reproduction. This notion is very crucial to the postmodernist discourse. - Had an idea to give us a sort of typology of gas stations, not in a scientific way, totally anti-modernist. - Deadpanned use of the camera as a documentary device. No intent to create a particular composition. - Eventually makes a few limited editions, despite breaking his own rules of making it cheap, because he has to make a living. -

Jess T. Dugan

- she is a trans artist, born a female but has undergone transformation and at that time, she was fine being called whichever way we'd like - it clearly demonstrates that the subject that Jess' photographs Are representing a very wide range of sexual identity, it is not just the trans community. - Where they say inspection of identities is not identified in the book. we are left to imagine, assume which ever way it may be. - in this photo, just as represented with their partner Vanessa who is a PhD in cultural identity. - There is a large contingent of people that all range on the spectrum of gender identity within the society for photographic education. - You can see how she has learned a great deal from Robert Mapplethorpe in terms of making photographs that are absolutely acceptable.

Jerry Uelsmann

- Magician of the darkroom, every image he did was by hand and are done without any digital manipulation. One of the early artists who has gone back to fabricating subjects like this in the 1960's. - Very good sense of aesthetic and spirituality. He took all kinds of photographs that were unrelated and eventually we're going to his contact sheets, building ideas in his mind, going into the dark room, which was set up with seven separate enlargers, being able to put seven different negatives in place and scale them exactly the way that he wanted them on the finished image. - He would take one piece of paper, mask part of it, then expose some smaller part, then go to the next larger, and on and on. When he sold his work, he didn't actually make a copy negative one of these finished prints, he would actually go back and make another one from scratch, which is astounding. - He is not a post-modern photographer, he works squarely within the modernist tradition except that he fabricated things, but fabrication is not inherently postmodern. - Post-Visualization In-Process Discovery - A play on word in Weston's pre-visualization, the idea is that the making of the finished image is not something that he knows at the time of the making of any particular negative. It is something that happens in process while he is working, combining things, trying different things, why he calls it in-process. - While Weston said " you have got to see the finished in full with the right tonalities expose your negative the proper way to get those results." - Uelsmann Turn that on its head by saying no, I'm going to allow myself to change my mind at every stage of the process until the finished work is completed. - "I prefer the willingness on the part of the photographer to re-visualize the final image at any point in the entire photographic process." - An affinity with the way surrealist painters, for example, what combines things that are not supposed to be happening. He is dissociating them from their initial context, and re-contextualizing them in other worries.

Joel-Peter Witkin

- Making contemporary photographs look old is also a practice that other people have used, and Joel Peter Witkin certainly fits this category. - Someone who is interested in looking at subjects that most of us would rather not look at, interested in the notion of the grotesque - When he was a child, she witnessed a car accident and saw a decapitated head which clearly burned an image into his mind - In his twenties, he served as an army photographer, and his duties included the task of photographing dead American soldiers. He has spent much of his life replaying that horrible site that he had as a six-year-old. - Some of his work is made with all sorts of manipulations in the dark room that make his work appear to be almost as found 19th century images, certainly not for the subject per say. - Witkins working methodology in the dark room has always been what he called a holy house refuge for a phenomenon for exploration. Different from how Jerry Uelsmann used a darkroom for creativity, Witkins does it too, but not to combine images as much as to alter his 'raw materials,' his photographic negatives. - Is known to cut them scratch them, the discoloration is caused by chemical application, sometimes he would place tissue over the enlarging paper done with spray mist of chemicals and water to alter the look of the image, she would manipulate the tissue during the exposure, and all sorts of other treatment. - All of this was done to extend the visceral impact which originally occurred in front of the camera.

Christian Boltanski

- Not a photographer, is conceptual - Considers himself a painter who does not use a brush - Mostly uses vernacular photographs, want to explore the notion of personal identity through these archives - Uses found images, enlarging the prints, which obliterates the identity of the subjects by the poor quality of the resulting prints, and removing any accompanying text. - - -

Mark Klett

- Second View: Rephotographic Survey Project (1977-79)

Zanele Muholi

- She's from South Africa, is a lesbian who has photographed Olympians in South Africa where it is illegal to be gay. - She's inverted the black face in the sense by doing the white lips. She invented all these costumes - Is on the cover of the conference SP 2 years ago, the brochure was printed and distributed but she had to cancel, was physically sick, overwhelmed.

Robert Heinecken

- Taught at UCLA, was mostly West Coast and didn't really have an impact in New York. - Photographic artists working within the medium. - Went against all the tenets of modernism. - Working within the realm of traditional basically trying to shape the foundations of everything. - Attacked by many feminist artists and critics because many of his images included nudity, sexual appeal, work with pornography, B U T these critics missed the point, that he was doing this as a critique of the multiplication of the images. - Breaks all the rules that would be taught in photographic programs at that time. - Thought about the Persistence of Vision: the notion of Minor White, the sequence where he wanted you to walk from the first image to the second, and as you walk, maintain that memory of the first one, it blends with the second, creates a larger whole, and so on. - Was very interested in the media, and found it interesting when turning the pages of a magazine, you go from something very serious to an ad and think to yourself how bizarre it is that they blend together. - Decided to make photograms, but from 'ready-made negatives' which were pages torn out of magazines in the series "Are You Rea." - Some extent these are found photograms because he did not choose what goes on the front and back. - Making a comment on popular media, but does it in a way that reflects the history of photography, combining many different things, also is another hybrid.

Jeff Wall

- The quintessential postmodernist artist using photography - Produces on average 2-3 images a year, while Edward Burtynski releases 200-300 hundred images a year. - Their presentation is also very different for all of the work, all of them were actually displayed or continued to be displayed as light boxes of a scale that almost matches about a billboard, as opposed to Burtynski who makes very large prints, very detailed but not lit from behind. - For many years, Jeff Wall's work was really an extension of Cinema. He was basically presenting the images seem lit from behind to replicate in a sense like a projected image even though from behind it sort of has a presence of great clarity because the light comes from the art itself as opposed to being reflected. - Cinematographic Photograph - He built an enclosure close to the window so when you walk by on the sidewalk or from the street you would actually see the work there and it very much look like that you were actually looking inside that room. He gives you the impression that we're looking at the room. - He, in a post-modern way, is not appropriated images, you may say he's appropriating by inference, although he does have an original in mind, so this is not an example of Simulacrum, which is no exact image but in this case he has an exact source. He's actually just recasting it in modern terms. Definitely appropriation by inference in some form. - 'Mimic' Is Jeff walz 1st Street photograph - It is taken on a tripod, which implies but these are complete fabrications. These are models, this is not in the flux of time, this is not Cartier-Bresson doing his trap and waiting for people to walk in. This is cinema, this is directorial mode all the way, all three of these actors / actresses are basically collaborating in the making of this work and it's about making a point about to say of multiculturalism in Vancouver at that time, yet they're called Street Photographs.

Danny Custodio

- They're very large sort of groupings of photographs each mounted on a single board. he was at the age where he was just about to finish his BFA and actually move to his own place in Toronto, getting out of the nest of his Portuguese heritage where he had been for his whole life until he made this work oh, so he is looking through the family album and he is making images of some of the details of texture, of embroidery and other things his mom had at the house, Granite contour and its kitchen.In the center, he is actually in the act of skinning a pig and roasting it or something to that effect, which is something Danny grew up with, and so his work is titled leave/remain/return. So speaking of his own identity leaving the nest and so on.

Barbara Kruger

- Worked as an art director for 11 years, her personal art practice is characterized by the use of appropriated imagery from publications of others combined with her own words, a strategy that can be seen as a contemporary form of collage. - To understand her, one must come to terms with the fact that she is a devoted feminist. - Work as an art director for 11 years, her personal art practice is characterized by the use of appropriated imagery from publications of others combined with her own words, a strategy that can be seen as a contemporary form of collage. - Use of pronoun in her early 1980's works, which is now important in terms of gender identity; she was using it in a very specific way. When she says "she" or "us" or "we", it is the woman speaking. When it is your culture, it's obviously the man's culture. - Very straightforward, but polarizing in the sort of references to male Authority in Western capitalist culture. - Working with appropriated images. - Her style became so pervasive that her own style was then re-appropriated by the marketing world. - Deconstruction within her work (L2, 1:32:00)

Kip Fulbeck

Figure 44. Kip Fulbeck, The Hapa Project, 2001-present.

Annu Palakunnathu Matthew

Figure 46. Annu Palakunnathu Matthew, Anirudh, from The Virtual Immigrant, 2006. Sequential rendering of lenticular print. - From far you don't notice much, but when you get closer you can see something interesting is going on. - These are known as lenticular prints, done by making two photographs and then slicing them very very thin through a very special machine, then mounting them interleaving one after the other. The photograph has a microscopic death to them and so when you move your head and actually changes . - Had a wonderful idea to make a body of work about what you call the virtual immigrants. The individuals that you see here are basically call operators, and you get a sense that somebody in a foreign country is speaking with you, but these are people who actually are Indian living in India but having to change their identity when they go to work. they also have to change their name for work, take lessons to try to soften their accents. - The way to try to show that in a catalog is doing what's called a sequential rendering and so you actually see for photographs made as you move from left to right, slightly the work goes.

Wieslaw Michalak

Figure 47. Wieslaw Michalak, Paris, from Cities in Mind, 2005. - His work was very different from the rest of the exhibition because these are not portraits of people but they are very much about the process of migration. They are actually transparencies that all had little black boxes we hid all the cables in the wall. What we're looking at here are stunningly beautiful 8 by 10 inch color transparencies that were made by making use of satellite imagery of cities. This one here is Rome, with the Vatican right in the middle of the picture. These satellite images are actually projected on large German atlases that were used in the 19th century for groups of people to decide where they should go in the world. - He took one of these large atlases and he kind of opened it, sort of turned a book inside out, so basically what we're looking at is the spine is at the very back the pages have been spun around to create this kind of accordion-like thing and then in his studio she set up this large book 24 in. in height then projected the satellite images unto these books. - You've got the book itself that serves as a recipient of the image and then you also have the projection continuing on the table and extending all the way to the soft background scene on the right side. - While these are more conceptual in nature they are very profound in speaking about the process of immigration that have given rise very much to the multicultural Groups we have in many countries on the planet.

Andy Warhol

L1, 13:00 --- An artist sometimes using photography --- - Warhol and Rauschenberg are the key figures to have reintroduced figurative imagery in American contemporary art. - He's rejecting things in order to bring attention to other things. - Warhol started multiplying images rather than looking for authenticity in the one And only Mona Lisa that is to be found only in the Louvre in Paris. Warhol multiplies her, duplicates her, rotates her, colors her in many different colors. He is completely rejecting these precincts that were so important to modernists. (image of multiple Mona Lisa's) - When it comes to authenticity, Andy Warhol may have wanted these images but he did not do the silk screening himself. He had his assistant do that. - Doesn't matter to him, it's about the image. It's not about the purity of means or the authenticity of the head of the artist. - The name of the photojournalists who made those images are not acknowledged by Andy Warhol. - The studio of Andy Warhol was known as "The Factory," which completely undermines the notion of authenticity. - He specialized in appropriating images from the mass media. - Went to church on Sunday, served people breadline. It was part of his upbringing. - He did not hesitate to recast the same photograph taken by somebody else, re-cropped and all. - Colors in some were completely arbitrary: would literally ask his assistant what color to do today, she say blue, that's what he used. - Warhol went against the grain and rejected the dominant form, Abstract art that was the Modernist tradition favored and applauded by Clement Greenberg. - Did subject that were much more controversial, talking desensitization that reproduction did. - Warhol shows that through mechanical reproduction, we become desensitized to pain and horror through repetition. ( Think about this appropriation, and think about Duchamp ready-made... You can see why Claude insisted on seeing him as a proto-Postmodernist. He was announcing what would come decades later. )

Robert Rauschenberg

L1, 54:15 --- An artist sometimes using photography --- - Warhol and Rauschenberg are the key figures to have reintroduced figurative imagery in American contemporary art. - Contemporary photographer who is really seen as the key figure to bridge Abstract Expressionism and the American Pop art. - Made sculptural called Monogram, between 1955-1959, work now in Stockholm. 56:35 - Put canvas on the floor (J. Pollock) He started seeing the gesture of taking his canvas from the easel, putting it on the floor so he could actually step in it, literally, walk all around on it. Action painting- Canvas becomes the arena Upon - Wasn't sure how to define this... Sculpture? Painting? - Called it a Combine-Painting (refer to keyword) - Around 1955, does 3D mixed media Construction, hybrid of painting and sculpture, incorporating real objects, recycling images often including photographs and paint Etc. - Basically, he's mocking the excess gesture Indulgence of the heroics of abstract expressionism. - Taking raw material from multiple sources an creating a new reality with that. - Douglas Crimp: "from production to reproduction" Trying to make a case with rauschenberg, and people working in methods like his, that there's a shift from producing the work to actually going from the production of something original to the reproduction, which simply by the definition of the term, you're not being original, and therefore reproducing something that already exists - Through reproductive technology, postmodernist art dispenses with the aura.

Sherrie Levine

L2, 31:00 - Interested in the deconstruction of the notion of authorship and it's re-contextualization within the contemporary practice of confiscation, appropriation, and pastiche. - The art strategy she used provoke outrage among art photographers, the crowd it was part of in a sense. - Part of her work at the time was based on the deconstruction of icons in modernist art an art photography - She's not doing this to express herself, she's doing this in a sense to make a political point about Modernism, originality, and Weston's claim. - Went after many famous artists and questioned their claims. - Postmodern

Thomas Demand

L4, 1:05:00 - Artist, began career as a sculpturer, hard to call him a photographer. - He's combining his craftsmanship conceptualization in equal parts and pushing the medium a photography towards uncharted territory. - Works much with completely fabricated displays entirely handcrafted of paper such as architectural spaces and natural environments built in the image of other images. - Photographs are removed from the spaces or objects that they are depicting oh, and once they are photographed he destroys the models. No one ever sees these constructions, it's just a photograph.

Gregory Crewdson

L4, 1:11:00 - Figure 29. Gregory Crewdson, Untitled from Twilight, 1998-2002. - Works with a team accrue like a sailmaker and a director, so join Michael is establishing the notion of directorial mode, Gregory Crewdson it's coming up in fabricating these ideas and sets and this is not a one-man job it includes painstaking preparation of elaborate sets. - Gregory's father was a psychoanalyst and his office was downstairs in their family home oh, so when he was young, he would always be very curious to know what's going on and he would hear all these stories, only part of it of course, then in a way that's kind of what he's recreating here, this crazy world. Psychology and psychoanalysis are very much a part of this.

Cindy Sherman

L4, 24:50 - We're (Uelsmann) working squarely within the traditional photographic medium. It could be called modernist, as they both fabricate, but they were not working in the postmodern fashion. - Raises questions about the notion of authorship, and also the issue of self-representation. continues to make images in which she always appears. She is the sole participant, soul protagonist of all the works that we look at, yeah art critics who have a good understanding of Photography have agreed these images are in no way self portraits. - Portrait has to be about the self, has to reveal something about your identity, etc. - She is re-enacting stereotypical characters, having grown up looking at all the B movies, film Noir, is a real film buff. became ticked off by the way in which woman are represented in Hollywood, the stereotypes being femme fatale, submissive, etc. - Her pictures are really about trying to make us to come to terms with stereotypical representation of women. - She wears makeup, wigs, sometimes large breasts, clothes. - Because her Source was filmmaking she decided to call them film stills, the kind of promotional 8 by 10 in. black and white photographs that have been distributed for generations. - She never reconstructed a specific source because she's interested in finding the characteristic that makes it a stereotype. sometimes there's evidence that she's doing them herself. - She is creating personas, Duchamp has influence on this work - In the museum of Photography, she was seen as an anomaly oh, she wasn't making the fine modernist print and so forth, So the work was not selling well, and when eventually some museums became interested in her work it was never through the photographic collection, but through contemporary collection. - Appropriation by Inference

Rafael Goldchain

L4, 43:00 - A descendent of the Warsaw Pact from Poland and other part of Eastern Europe Jewish Family that were forced by the Nazis to flee. - Figure 25. Rafael Goldchain, Self-Portrait as Pola Baumfeld (b. Ostrowiec, Poland, d. Poland, early 1940's, 2001.

Duane Michals

L4, 50:34 - Had a brief career as a graphic designer before turning to photography. He began creating these narrative sequences that play on themes, such as desire, memory, dreams, and mortality. - Composing a succession of events and he stages the scenes to utilize cinematic language in this notion of directorial mode. overall referring to photographic tools, such as picking single moments in time. - Many images show blurred figures implying movement within each movement of the frame. - In the series " The Spirit leaves the Body" he uses the means of double exposure survive the delicate iconography almost within the 19th century spirit photography in this new poetic context. - Similar to directorial mode - When the artist is working like a film-maker or director, his images are on the visual themes created for images, Where he's setting up his subjects like a director in a movie, and in a way these sequences are pre visualized, different then what we saw with Edward Weston pre-visualizing, he's setting it up like the sequence, breaking down each film, moving chronologically to play out a story or whatever narrative he's trying to bring out. - Figure 26. Duane Michals, Things Are Queer, 1972. Sequence comprised of nine photographs.

John Coffer

L5, 44:00 - You would wrongly assume this is a 19th century photograph in part because it is actually what we call a tintype: the most common and cheapest form a photography practice worldwide but specifically in America roughly the 1860s to the 1920s they kept continuing to use and now there's a big Resurgence of old processes. - There's a book called Antiquarian Avant-garde (using John Coffer to stand as all these photographers, who include our own Susan Evans) who have Revisited the old techniques. - In this case, John coffer is part of the group of individuals who are in the business of reenacting the American Civil War.

David Buchan

L5, beginning - Figure 30. David Buchan, Halo, 1989. - Refers to Jacques Louis David, Death of Marat, 1793 - He made this remarkable painting about Marat who was a leader of a particular group that was absolutely devastated by the number of murders they encouraged, meaning all the figures that were not fitting their ideological pursuit we're basically killed. Marat had a terrible skin disease that forced him to keep his body in water to soothe the pain. - In this case here, he is shown holding a letter to him by a woman that came in and assassinated him. - David Buchan hear plays with the shampoo Halo and obviously mimics the painting. in this case here, it's about the postmodern gesture of consumerism, on the left, David Buchan has his Marat hold his bank statement.

Chandana Reddy

L6, 25:43 Figure 39. Chandana Reddy, Study: (Cultural) Identity, 2006. - She wanted to do a piece about her Indian Heritage. She was born in Michigan, And on special occasions, holidays and such, she always dresses in her cultural clothing. Being a t-shirt and jeans person, she wanted to do a piece of work that will be in three parts to show the two sides that are sort of split in her mind, 10 in the middle, naked. - explaining the dichotomy that she lives practically everyday, how is she deals with the fact that she is both: melo, and traditional when she wants to be.

Lorna Simpson

L7, 1:13:00 - Focuses more on the body - She really speaks about African-American identity. - Figure. there are all these words and there's an association the way we read, you can see something, it goes to the stereotype whether you want to or not. But, You can also mean halo. - She's deconstructing language and stereotypes that associated from language. - - -

Shirin Neshat

L7, 1:18:19 - In the 1990s, she made a series called "Women of Allah" in which she is actually a patriot. She was forced by the revolution to flee and has never been able to go back to her country of birth, now 65 years of age. - Has become outspoken about the role of women in the Iranian revolution, and does this with the photographs in that particular series with extraordinary calligraphy, which may not even be able to be read. Some of it may even be more visual with no direct translation of these texts, stories of martyrdom. - The girl is pointing at you so it has this act of prayer at the hands holding it.

Robert Mapplethorpe

L7, beginning - Broke boundaries for lots of people with extreme formal qualities in his work. - Started out with releasing images that dealt with masochistic practices among the gay World in New York City - Made a stunning number of photographs of flowers which has been read in sexual terms by many - Renowned portrait photographer of the cultural scene - Quintessential formalist technician, often printed with the expensive platinum process, wood frame - Body itself has become subject work for his work. Spent a great deal of time photographing sculptural works. He was looking for the essence of the male beauty that was defined and sculptures from antiquity. Can recognize what he's looking at is the formal beauty of the male body, the musculature and the formal positioning and so forth. - His aesthetic is perfectly in line with the best of what the modernist. What broke the mold is his selection of subject matter. There's a very large section of his work that deals with gay life in New York as well as California, so he is also dealing with relationship across race. - There is always a mix: on the one hand classicizing features, with many ethical forms, but they can be very austere and raw and are on hibited in their content especially in terms of sexuality. also occurred at the time of the AIDS epidemic. - First openly gay artist to actually do work that was meant to be confrontational but also celebratory, work that was really designed to put forth his community that exuded a sense of pride in his community.

Hans Haacke

Not considered a photographer. He held extremely political points of view in terms of being a marxist art historian mainly interested in commodities, money, and the market. Very interested in basing his art on in-depth research and allowing facts to speak for themselves. He comments with imagery, not with text or artist statements or words because he doesn't need to. His work is extraordinary enough. - Apartheid: Racial segregation in South Africa - L2, 12:00 MetroMobiltan, 1985 (not on study guide images) Haacke is using the strategy to, in a way, quote the promotional display of the M.E.T. Masking/Unmasking