TH E G AZE The
work
of
Cindy
Barbara
Kruger,
Wilke
Adrian
&
Sherman,
Hannah Piper
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FORW
A
rtists over time have addressed political, personal, boundaries and push us to think more. From historical opinions, we have learned more than we ever could hav
Women have pushed to gain their rightful place and equali States. More patient and intelligent women inspire us and en of the new age have taught women to compose themselves suggested that they too, have rational thought just like
This exhibit captures the essence of the inner turmoils w movie star stereotypes to glamourous pin-up girls and jus Kruger, Hannah Wilke, and Adrian Piper- exhibit the full their eyes. Vulnerability, strength, fear, and determinat across the faces of these women.
Under the piercing gaze of these artists, men and women a in comparison.
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religious, and an array of other issues that stretch l art to more recents such as Warhol with his unconcealed ve imagined. But what about the role of women in society?
ity alongside man since before the birth of the United d the art world every day. Some of the most inspiring woms with dignity and to reject objectification. They have man. And they have succeeded.
women have faced since the creation of social media. From st regular women, these artists- Cindy Sherman, Barbara emotional struggle of women through communication with tion are only a few examples of what can be found splayed
alike have found themselves uncomfortable and diminutive
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CONT
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PAGE 58____________
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PAGE 4
ENTS
____ CINDY SHERMAN
____ BARBARA KRUGER
____ HANNAH WILKE
____ ADRIAN PIPER
____ INDEX
____ BIBLIOGRAPHY
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CINDY SHERMAN PAGE 7
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n American photographer and film director, Cindy Sherman (Born 1954) poses as a multitude of different characters in her photographic film stills. Her sometimes far out personas are her own way of examining women and their place in society, how we construct our own identities, and how we represent ourselves. In order to create her own images, she takes on the role of photographer and styles herself completely (Respini). Sherman grew up in Huntington, New York and was educated at Buffalo State College where she took classes in drawing, painting, and photography. Initially, she failed her first photography course, but ultimately ended up majoring in it because she enjoyed the immediacy of the work. She works in series, where she appears as an array of styles. She does not consider her own work to be feminist, but many of her photos, especially the ones done in her “Centerfolds,” bring to light the stereotyping of women in social media. The Untitled Film Stills are all black and white, and she portrays herself as different actresses in pictures that are reminiscent of foreign films, Hollywood pictures, film noir, and B-movies. Most of the shots were taken with her own props inside of her apartment (Art, Cindy Sherman).
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Ci ndy Sherman, (America n, 1954-), Untitled Fi lm Still #119, 1983, ch romogenic color print, 48 1/2’’ x 7’ 11’, Priva te Collection.
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Cindy Sherman, (American, 1954-), Untitled Film Still #92, 1981, chromogenic color print, 24 x 48 in., The Museum of Modern Art, New York. PAGE 10 10
Cindy Sherman, (American, 1954-), Untitled Film Still #90, 1981, chromogenic color print, 24 x 48 in., Des Moines Art Center Permanent Collections, Des Moines, Iowa.
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ne of Sherman’s colored film stills, this one depicts Sherman seated on the floor against a white chair and in front of a green curtain. One of the most highly acclaimed portraits she took, Untitled Film Still # 94 was a part of the centerfold series that became a catalyst from her black and white untitled film stills to here colored, more modern portraits. The centerfold style was to depict the woman to be admired by those viewing her pictures, similar to the style of pictures being published in magazines such as Playboy at the time. She attempts to portray the many emotions of the teenaged years in these photos “in an act to transform the layout where women were traditionally sexualized” (Massad). Her eyes directed toward an unseen object are piercing and powerful, yet at the same time possess a small amount of fear. In her series, including this picture, Sherman’s object was to reveal to the onlooker a girl who suggests a sense of vulnerability and consciousness of herself. Hoping to change the way women were viewed and admired, Sherman published her photo in this manner. Her tomboyish and dimly colored clothes also indicate her character’s lack of clarity and uncertainty.
Cindy Sherman, (American, 1954-), Untitled Film Still #94, 1981, chromogenic color print, 24 x 47.9 in., The Broad Art Foundation, Santa Monica, California.
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Cindy Sherman, (American, 1954-) Untitled Film Still #85, 1981, chromogenic color print 22 x 48 in., Collection of Jean Pigozzi, Geneva. PAGE 14 14
Cindy Sherman, (American, 1954-), Untitled Film Still #88, 1981, chromogenic color print, 24 x 48 in., Sender Collection, New York. PAGE PAGE15 15
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ne of Sherman’s color prints, Untitled Film Still #74 depicts a woman in a yellow coat with greyed hair holding a handbag. She appears to be standing with a city as her backdrop. Sherman once again focuses her eyes not at the viewer, but at some foreign object that cannot be seen. Her gaze presents her poise, power, and energy in the picture. By depicting her so, it demonstrates the vibrancy of woman in her every day life. Even the pop of color her coat adds to the picture hints at this. However, it can be said that there is a hint of doubt in her facial expression, as seen in some of her other photographs. Her placement in the foreground of a city also suggests her new position in society- or what the author in the portrait would like women to achieve. She wants to see women flou rish and achieve a higher position than what they have already secured. However, the look on her character’s face seems to exude an amount of uncertainty that can be seen in almost all of her other prints. Even though she appears vulnerable and unsettled, she is moving toward a greater purpose in her life.
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Cindy Sherman, (American, 1954-), Untitled Film Still #74, 1980, Ci ndy Sherman, color (Americhromogenic ca n, print, 1954-), Untitled 15 x 24 in., Fi lm Barbara Still and #74,Richard 1980, S. ch romogenic color print, Lane. 15 x 24 in., Barbara and Ri chard S. Lane.
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nother still in her famous collection, Sherman depicts a woman seated in a chair smoking a cigarette with her legs uncrossed. A portrait of a man hangs on the wall behind her. There are several aspects of this portrait that suggest the strong sense of feminism which Sherman kept in mind while making her pictures. Her casual, nonchalant gaze off to the side of the frame indicates the look of a calm, and possibly confident woman lounging at the forefront of man (note the picture strategically placed behind her). Her legs are uncrossed, which would have been inappropriate for a woman to do while wearing a dress during her time. Perhaps her uncrossed legs and gaze demonstrate that she has managed to declare herself as strong as man is in society. In addition, it looks as if she holds a cane in her right hand, which could serve as further evidence of her self empowerment. However, her gaze directed at the side of the frame in yet another picture shows that she still does not have the courage to bring her eyes directly to the viewer’s. This takes away from the strength of the woman in Sherman’s portrait.
Ci n d y S h e r m a n , ( A m e r ica n , 1 9 5 4 - ) , U n t i t l e d Fi l m S t i l l # 1 6 , 1 9 7 8 , ge l a ti n s i l v e r p r i n t , 9. 4 x 7 . 5 i n . , T h e M use u m o f M o d e r n A r t , N e w Yo r k .
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Cindy Sherman, (American, 1954-), Untitled Film Still #96, 1981, chromogenic color print, 24 x 48 in., The Museum of Modern Art, New York. PAGE 20 20
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his particular piece shows twenty-three consecutive self portraits of the artist Cindy Sherman. Untitled #479 shows a humble young girl with a lackadaisical stare being transformed into a young woman perceived as a seductive harlot. In all of Sherman’s work she makes an effort to portray a representation of women in society. She achieves this not by the background or atmosphere but the face and gaze. In the first photo there is a spiritless stare and she is slowly gaining a new persona that transforms the viewer’s perception into a new and contrasting persona of a lesser respected woman in society. This piece is interesting because it emphasizes the steps that this young girl took to transform into a new role in society. This is a classic Cindy Sherman piece because it shows her experimentation, playfulness, shows her voice and fast versatility. This piece exhibits feminism and how emotion is portrayed through gaze.
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Ci ndy Sherman, (America n, 1954-), Untitled Fi lm Still #479, 1975, tw enty-three hand-color ed gelatin silver pr ints, 20 1/2 x 33 1/2 in ., The Museum of Moder n Art, New York.
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Cindy Sherman, (American, 1954-), Untitled Film Still #89, 1981, chromogenic color print, 24 x 48 in., Dallas Museum of Art, Dallas, Texas. PAGE 24 24
Cindy Sherman, (American, 1954-), Untitled Film Still #91, 1981, chromogenic color print, 24 x 48 in., Neda Young, New York. PAGE PAGE25 25
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still from her series “Untitled Film Stills,” which is comprised of seventy black and white photographs, Cindy Sherman’s work illustrates a woman in tattered clothing at the bottom of a dark staircase. Her pictures were taken as a whole work of art to depict and resemble publicity pictures that were made on movie sets, and to be read like an “encyclopedic roster of stereotypical female roles inspired by 1950s and 1960s Hollywood film noir, B movies, and European art-house films” (“Cindy”). Her images demonstrate to the onlooker different clichés they hold while viewing different people. In this image, the woman finds herself in an uncomfortable situation. With a tattered dress and messy hair, perhaps Sherman comments on the fact that women are viewed as last in society. Her gaze remains averted from the onlooker (in fact, her eyes are barely visible), demonstrating that she does not possess the strength to make eye contact. Her stance also suggests the innocence of a young girl, scared in her nightgown, seeming to confront the viewer for help. Women are also predominately portrayed as weak and needing the strength of a man to help her. She illustrates that the Hollywood depiction of females is not always necessarily true.
Ci n d y S h e r m a n , ( A m e r ica n , 19 5 4 - ) U n t i t l e d Fi l m St i l l # 2 6 , 1 9 8 5 , ge l a t in s i l v e r p r i n t , 6 3/ 8 x 9 7 / 2 6 i n . , T h e Mu s e u m o f M o d e r n A r t , Ne w Y or k .
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Cindy Sherman, (American, 1954-), Untitled Film Still #14, 1978, gelatin silver print, 40 x 30 in., Private Collection, New York. PAGE 28 28
Cindy Sherman, (American, 1954-), Untitled Film Still #34, 1979, gelatin silver print, 9 7/16 x 7 9/16 in., The Museum of Modern Art, New York. PAGE PAGE29 29
I
n her series of sixty-nine Untitled Film Stills, Cindy Sherman constructs a world where the subject creates progressively elaborate identities. This work contains dismal components that are derived from the search to find the self and the continual presence of illusion and death (Stevens). Critics of her work often discuss the ideas of the objectification of women represented by the female gaze. In Untitled Film Still #153, a haggard older woman looks blankly into the distance, suggesting the portrait’s theme to be death. Her gaze pulls the onlooker to her face and to the stillness of her body and may suggest to the onlooker a loss of hope, life, and emotion. The green moss surrounding her demonstrates that life exists in other places rather than the woman. This image not only portrays these ideas to the viewer, but also pulls a number of other different emotions into his or her perspective.
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Ci ndy Sherman (America n, 1954-), Untitled Fi lm Still #153, 1985, ch romogenic color print, 67 .3 x 49.2 in. The Muse um of Modern Art, New Yo rk.
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n homage to the typical housewife who would have lived during the 1950s or 1960s, this portrait by Sherman shows a young woman standing in what looks like a kitchen at the sink. Her posture appears to be defensiveher body is turned away from the rest of the kitchen while her arm rests across her stomach and the other closes her off toward the sink. Sherman might suggest by her posture that woman has been required to separate herself from society and live in seclusion as a housewife because of set societal standards. In addition, the apron wrapped around her waist under her arm hints that she might have been trying to keep or protect her status as a housewife at the time. However, she still does not bring her eyes straight to the camera, but looks off to the right side of the frame, as if looking back on something that is keeping her faced toward the sink. She depicts a woman who is still unable to change her position in society. Surrounded by cooking ingredients and housewares, she is backed into a corner that men have managed to push women into over centuries.
Ci n d y S h e r m a n , ( A m e r ica n , 19 5 4 - ) , U n t i t l e d Fi l m St i l l # 3 , 1 9 7 7 , ge l a t in s i l v e r p r i n t , 7 1/ 1 6 x 9 7 / 1 6 i n . , T h e Mu s e u m o f M o d e r n A r t , Ne w Y or k .
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ifferent than each of her other film stills in subtle ways, Sherman stands in what looks like the back yard of a home with a plow in her hands, wearing a white shirt and a pair of large, round sunglasses. The grass beneath her feat looks dead and trampled, and the foliage overgrown. Her gaze is focused directly at the camera this time, although the viewer cannot see her eyes. A progressive step from the rest of her portraits, she actually shows that she is strong enough to make eye contact with the person viewing the film, even though she is hidden behind a pair of sunglasses. The plow suggests that she is performing the work of a man, and suggests she is about to bring new life to the once dead earth beneath her feet. Perhaps she is commenting on the fact that women are starting to play more important roles in society, growing something out of what was once barren, and beginning to tame the wild before them. However, some may gather from the portrait the idea that she is cultivating a good life for herself and her family within the confines of the home because she is placed in a fenced in back yard.
Cindy Sherman, (American, 1954-), Untitled Film Still #47, 1979, gelatin silver print, 7 9/16 x 9 7/16 in., The Museum of Modern Art, New York. PAGE 34 34
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Cindy Sherman, (American, 1954-), Untitled Film Still #62, 1977, gelatin silver print, 6 1/4 x 9 5/16 in., The Museum of Modern Art, New York. PAGE 36 36
Cindy Sherman, (American, 1954-), Untitled Film Still #81, 1980, gelatin silver print, 9 7/16 x 6 9/16 in., The Museum of Modern Art, New York. PAGE PAGE37 37
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hroughout her years as an artist, Sherman has received several commissions for various designers and high fashion magazines. She used these photographs not only to show the work of the designer, but to critique the fashion industry, feminine roles, and societal classes as a whole. In particular, Untitled Film Still #137 was done in 1984 for French Vogue, and she was given clothing from couture designers. The woman in the picture that she portrays appears bruised with makeup caked on her face, sits in a slouchy position, has messy hair, and is wearing a heavy, red coat. She looks unhappy and tired. The image she creates is not something anyone would expect to find as a normal fashion picture (Gallan). Her gaze does not rest upon the onlooker, but looks solemnly off to the left side of the portrait. Downtrodden and dirty, the woman falls short of any sort of glamorous image viewers hope to see. Sherman is simply commenting on the way women are harassed in order to be perfect figures within the fashion industry, their own home, and in society.
Cindy Sherman, (American, 1954-), Untitled Film Still #47, 1979, gelatin silver print, 7 9/16 x 9 7/16 in., The Museum of Modern Art, New York. PAGE 38 38
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B A RBARA KRUGER PAGE 41
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n example of one of Barbara Kruger’s “paste-ups,” Untitled (We are astonishingly lifelike), depicts a woman holding a grid-like frame in front of her face. The image is lenticular, meaning that the photograph is composed of images layered so that the viewer sees different images from different perspectives. The words, “We are astonishingly lifelike” pasted on the picture, serve as an ironic notion. Trapped behind the frame, the woman does not appear completely clearly (Dumm, 135). Perhaps as a feminist, Kruger’s intention for her work of art was to demonstrate the irony behind the idea that woman exists as a real person in her occupation as housewife, considering the grid behind the woman may be some kind of loom. When not required to hide behind the mask of loving mother, wife, and homemaker, woman can be just as life like as man tends to be. Besides this interpretation, the woman’s gaze is directed at the onlooker, demonstrating that she possesses the power to make eye contact. Most women in portraiture did not meet the eyes of the viewer, showing that she did not hold the same authority as man.
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Ba rbara Kruger, (America n, 1945-), Untitled (M emory is your image of perfection), year unkn own, collage, 4.4 x 9. 8 in., Spruth Magers, Be rlin and London.
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Barbara Kruger, (American, 1945-), Untitled (You me we), 2003, screenprint, 61 x 48 in., Spruth Magers, Berlin and London. PAGE 44 44
Barbara Kruger, (American, 1945-), Untitled (Money can buy you love), 1985, collage, 7.7 x 6.9 in., Spruth Magers, Berlin and London. PAGE PAGE45 45
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Barbara Kruger (American, 1945-), Untitled (We don’t need another hero), 1987, photograph and type on silkscreen/ vinyl, 90 x 117 in., Mary Boone Gallery, New York.
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Barbara Kruger, (American, 1945-), Untitled (We will no longer be seen and not heard), 1985, nine color prints (printed from photomechanically prepared lithographic plates, hand-drawn lithographic plates, and screenprint), 20 3/4 x 20 5/8 in., Philadelphia Museum of Art, Philadelphia.
Barbara Kruger, (American, 1945-), Untitled (We are astonishingly lifelike), 1985, photograph and type on paper, 7.7 x 7.7 in., Private Collection, Courtesy Mary Boone Gallery, New York.
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Barbara Kruger, (American, 1945-), Untitled (Your body is a battleground), 1989, photograph and type on paper, 8.2 x 7.5 in., Skarstedt Gallery, New York.
Barbara Kruger, (American, 1945-), Untitled (Super rich/ultra gorgeous/extra skinny/forever young), 1997, photographic silkscreen/ vinyl, 84 x 93 in., Spruth Magers, Berlin and London.
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H A NNAH WILKE PAGE 53
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n American pop artist, Barbara Kruger was born in 1945 in New Jersey and attended Syracuse University. From even an early time in her life and career, she developed an interest in graphic design, poetry, and writing. After a year of study at Syracuse, she moved to New York to continue her studies and met Diane Arbus and Marvin Israel, who introduced her to other photographers and the different cultures of fashion and media. Eventually in 1979 after struggling with different forms of art, she began to use images in her artwork that she found from different print-media sources. Most of the pieces she found were feminist provocations and commentaries on sensitive subjects such as religion, sex, consumerism, greed, and power (Art, Barbara Kruger).
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Ha nnah Wilke, (America n, 1940-1993), S.O.S. St ratification Object Se ries (Back), 1974, ge latin silver print, 40 x 27 in., Solomon R. Gu ggenheim, New York.
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H
annah Wilke, like Cindy Sherman, poses in her own work. This is Curlers in the S.O.S. - Stratification Object Series 1975. She is known for exaggerated photos and exploited American culture views of feminine beauty and fashion. The S.O.S. exhibit is screen shots of a performance in “hello Boys� in Paris. She placed sculpted pieces of chewing gum on her face in this particular screen shot to disfigure and change the perception that the viewer will have of beauty. Over all, she appears in a natural state. She has little makeup and her air is in curlers and she is nude. She is using a harsh, piercing gaze that evokes a disapproving or insulted emotion. In this piece her gaze and chewing gum are working together to suspend the viewer and transform their emotion to feel uncomfortable and unsettled. This piece continues to bring the viewer through different emotions throughout the exhibit.
Hannah Wilke, (American, 1940-1993), S.O.S. Stratification Object Series (Back), 1975, photography size unknown, Whitney Museum, New York.
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A D RIAN PIPER
W
hile Piper’s art tends to be abrasive and aesthetically to the point, Cornered tends to be no different. Since about 1970, Piper has worked to bring subjects to light that most viewers have not been entirely comfortable with, such as the awareness of a single person’s personal complicity within a “pervasively racist, xenophobic, and unjust system” (Johnson). In her video, Piper sits a desk backed into a corner with a table against it. She declares that her race is African American, even though the viewer clearly can see that she is not of color, and proceeds to tell her viewers why they might be bothered by her statement. Later she professes that according to the laws of Southern states, citizens of mixed race are black. She then questions the reader on how they are going to handle this information. Piper shows that women of mixed race are often pushed into a corner by the masses and are required to fend for themselves. Because of the stereotype placed on women, they are at all times, being backed into situations that they have to perform well in and are always watched. She states that the way society views women and biracial citizens is not the correct view.
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Ad rian Piper, (American, 19 48-), Cornered, 1988, mi xed media installation of variable size; video monitor, table, and bi rth certificate, New Mu seum of Contemporary Ar t, New York.
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IND PAGE 60
DEX PAGE 61
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #1 1 9 , 198 3 , ch r omog e n i c c o lor p r i nt , 4 8 1/2 ’ ’ x 7 ’ 11’ , P ri v a t e Col l e c ti o n .
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #9 3 , 198 1 , ch r o m ogen i c co l o r pri n t , 2 4 x 48 i n . , H e ssel M u se u m of A r t , N e w Yor k .
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #9 3 , 198 1 , ch r o m ogen i c co l o r pri n t , 2 4 x 48 i n . , H e ssel M u se u m of A r t , N e w Yor k . PAGE 62 62
Cindy Sherman, (American, 1954-), Untitled Film Still #119, 1983, chromogenic color print, 48 1/2’’ x 7’ 11’, Private Collection.
Cindy Sherman, (American, 1954-), Untitled Film Still #119, 1983, chromogenic color print, 48 1/2’’ x 7’ 11’, Private Collection.
Cindy Sherman, (American, 1954-), Untitled Film Still #119, 1983, chromogenic color print, 48 1/2’’ x 7’ 11’, Private Collection. PAGE PAGE63 63
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #1 1 9 , 198 3 , ch r omog e n i c c o lor p r i nt , 4 8 1/2 ’ ’ x 7 ’ 11’ , P ri v a t e Col l e c ti o n .
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #9 3 , 198 1 , ch r o m ogen i c co l o r pri n t , 2 4 x 48 i n . , H e ssel M u se u m of A r t , N e w Yor k .
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #9 3 , 198 1 , ch r o m ogen i c co l o r pri n t , 2 4 x 48 i n . , H e ssel M u se u m of A r t , N e w Yor k . PAGE 64 64
Cindy Sherman, (American, 1954-), Untitled Film Still #119, 1983, chromogenic color print, 48 1/2’’ x 7’ 11’, Private Collection.
Cindy Sherman, (American, 1954-), Untitled Film Still #119, 1983, chromogenic color print, 48 1/2’’ x 7’ 11’, Private Collection.
Cindy Sherman, (American, 1954-), Untitled Film Still #119, 1983, chromogenic color print, 48 1/2’’ x 7’ 11’, Private Collection. PAGE PAGE65 65
Bar b a r a K r uger , ( Am e r ican , 1 94 5 - ) , Unt i t l ed ( W e are a s to n i s hing l y li f elik e ) , 1 9 8 5 , pho t o g ra p h and t y pe o n pap e r , 7 . 7 x 7.7 i n ., P r ivat e C ol l e ctio n , Co u r t esy M a r y B o o n e Gal l e r y, N e w Yor k .
Bar b a r a K r uger , ( Am e r ican , 1 94 5 ), U n t it l e d (Me m o r y i s you r i ma g e o f per f e c ti o n ) , yea r u nk n o w n , col l a g e, 4 . 4 x 9 . 8 in . , Spr u t h M a gers , B er l i n and L o nd o n .
Bar b a r a K r uger , ( Am e r ican , 1 94 5 - ) , Unt i t l ed ( Y o u me w e ) , 2 0 0 3 , scr e e n pr i n t , 61 x 4 8 i n . , Spr u t h M a gers , B er l i n and L o nd o n .
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Barbara Kruger, (American, 1945), Untitled (Money can buy you love), 1985, collage, 7.7 x 6.9 in., Spruth Magers, Berlin and London.
Hannah Wilke, (American, 1940-1993), S.O.S. Stratification Object Series (Back), 1975, photography size unknown, Whitney Museum, New York.
Hannah Wilke, (American, 1940-1993), S.O.S. Stratification Object Series (Back), 1974, gelatin silver print, 40 x 27 in., Solomon R. Guggenheim, PAGE PAGE67 67
Bar b a r a K r uger ( A me r ican , 1 94 5 ), U n t it l e d (We d o n’ t nee d a no t h e r her o ) , 1 9 8 7 , pho t o g ra p h and t y pe o n sil k s c re e n / vin y l , 9 0 x 117 i n ., M a r y Boo n e Ga ller y , Ne w Yor k .
Ba r b a r a K r uge r , ( Am e r i c a n , 19 4 5 - ) , U n t i t l e d (W e w i ll n o l o nge r b e s e e n a n d no t h e ar d ) , 1 9 8 5 , ni n e c ol o r p r i n t s (p r i n t ed f r o m p h oto - m e c ha n i c a l l y pr e p a r ed l i t h ogr a p h i c p l a t e s , ha n d - d ra w n l i t h ogr a p h i c p l a t e s , an d s c re e n p r i n t ) , 20 3 / 4 x 2 0 5 / 8 in . , P hi l a d e l p h i a Mu s e u m o f A r t , Ph i l a d el p h i a .
Bar b a r a K r uger , ( Am e r ican , 1 94 5 ), U n t it l e d (Yo u r bo d y is a b at t l egro u n d ), 198 9 , ph otog r a p h a n d typ e o n p aper , 8 .2 x 7.5 i n ., PAGE 68 68
Barbara Kruger, (American, 1945), Untitled (Super rich/ ultra gorgeous/extra skinny/forever young), 1997, photographic silkscreen/vinyl,
Cindy Sherman, (American, 1954-), Untitled Film Still #14, 1978, gelatin silver print, 40 x 30 in., Private Collection, New York.
Cindy Sherman, (American, 1954-), Untitled Film Still #479, 1975, twentythree handcolored gelatin silver prints, 20 1/2 x 33 1/2 in., The MuPAGE PAGE69 69
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #3 2 , 197 9 , ge l atin s i lv e r pri n t , 2 5 1 / 8 x 3 1 3 /4 i n . , The M u se u m o f Mod e r n A r t , New Y o rk .
Cin d y Sh e rman , ( Am e r ican , 1 95 4 ), U n t it l e d Fil m S ti l l #74 , 1 98 0 , chr o m o ge n i c col o r pr i n t , 15 x 2 4 i n . , Bar b a r a a n d Ric h a r d S . Lan e .
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #1 8 , 197 8 , ge l atin s i lv e r pri n t , 8 x 1 0 in. , M et r o Pic t u r es , N e w Yor k . PAGE 70 70
Cindy Sherman, (American, 1954-) Untitled Film Still #26, 1985, gelatin silver print, 6 3/8 x 9 7/26 in., The Museum of Modern Art, New York.
Cindy Sherman, (American, 1954-), Untitled Film Still #16, 1978, gelatin silver print, 9.4 x 7.5 in., The Museum of Modern Art, New York.
Cindy Sherman, (American, 1954-), Untitled Film Still #3, 1977, gelatin silver print, 7 1/16 x 9 7/16 in., The Museum of Modern Art, New York. PAGE PAGE71 71
Cin d y Sh e rman , ( Am e r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #4 7 , 197 9 , ge l atin s i lv e r pri n t , 7 9 / 1 6 x 9 7 / 16 i n . , The M u se u m o f Mod e r n A r t , New Y o rk .
Adr i a n P i per, ( A me r ican , 1 94 8 ), C o r ne r e d , 198 8 , mi x e d med i a insta l l a ti o n of v a r ia b l e siz e ; vi deo m o n it o r , tab l e , a n d bir t h ce rtif i c a te ,
Cin d y Sh e rman ( A me r ican , 1 95 4 - ) , Unt i t l ed F i l m Sti l l #1 5 3 , 198 5 , ch r o m ogen i c co l o r pri n t , 6 7 . 3 x 49.2 in. The M u se u m o f Mod e r n A r t , New Y o rk . PAGE 72 72
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PAGE PAGE73 73
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