Pb nov 12 by Sophia Schippers

Sophia Schippers Viscom 202 Andrea Herstowski 2017

Photography Project

Project Description In this project my main goal was to further my knowledge in typography. This project, I will learn how to create magazine spreads, while engaging the use of photos, and working to make my spreads interesting typographically. Through each round, I am pushed to explore different methods in arranging picture, call-outs, and articles. This magazine includes a contemporary photographer, a historical photographer, and an excerpt from Susan Sontagâ&#x20AC;&#x2122;s novel, On Photography.

Feature Article Source 1

Sherman uses herself as a vehicle for commentary on a variety of issues of the modern world:

the role of the woman, the role of the artist and many more. It is through these ambiguous and

eclectic photographs that Sherman has developed a distinct signature style. Through a number of different series of works, Sherman has raised challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art.

involved in the arts as a young person. Sherman's parents were not involved in the arts; her

father made a living as an engineer and her mother worked as a reading teacher. Born relatively late in her parents' lives, Sherman's father was retired by the time she was in fifth grade.

Sherman has said that, "It wasn't until college that I had any concept of what was going on in

the art world. My idea of being an artist as a kid was a courtroom artist or one of those boardwalk artists who do caricatures. My parents had a book of, like, the one hundred one beautiful

paintings, which included Dali and Picasso among the most recent artists." Despite her parents lack of artistic interest, they were supportive of her choice to enter art school after finishing

high school, though, according to Sherman, her mother did caution her to "take a few teaching

courses just in case." Thus, Sherman's exploration of art began at the State University College at Buffalo.

Sherman's career at Buffalo began much differently then it ended. As a freshman, Sherman set out to study painting until one day, when she realized that she had enough. Frustrated

with the limitations of painting and feeling like she had done all that she could, she gave it up.

Sherman has said that she felt that " . . .there was nothing more to say [through painting]. I was meticulously copying other art and then I realized I could just use a camera and put my time

into an idea instead." And this is explicitly what she did. In retrospect, Sherman has expressed

that she never could have succeeded as a painter, stating that she is unable to react to painting in anything more than a visceral way. Lacking the critical connection needing to proceed with painting, Sherman turned to photography, which she studied for the remainder of her time at

Buffalo. During this time, she met a person who was to become very important in her life: fellow artist Robert Longo. Together with Longo and fellow student Charles Clough, Sherman formed Hallwalls, an independent artists' space where she and fellow artists exhibited.

After Sherman's 1976 graduation, she decided to move to New York City to embark upon

her career in art. Taking a loft on Fulton Street in lower Manhattan, Sherman began taking photographs of herself. These photographs would come to be known as the Untitled Film

Stills , perhaps the most well known and recognizable work of Sherman's career thus far. In

these photographs, begun in 1977, Sherman places herself in the roles of B-movie actresses. Her photographs show her dressed up in wigs, hats, dresses, clothes unlike her own, playing the roles of characters. While many may mistake these photographs for self-portraits, these

photographs only play with elements of self-portraiture and are really something quite different.

In each of these photographs, Sherman plays a type -- not an actual person, but a self-fabricated

fictional one. There is the archetypal housewife, the prostitute, the woman in distress, the woman in tears, the dancer, the actress, and the malleable, chameleon-like Sherman plays all of these characters.

For a work of art to be considered a portrait, the artist must have intent to portray a specific,

actual person. This can be communicated through such techniques as naming a specific person in the title of the work or creating an image in which the physical likeness leads to an emotional individuality unique to a specific person. While these criteria are not the only ways of connoting a portrait, they are just two examples of how Sherman carefully communicates to the viewer that these works are not meant to depict Cindy Sherman the person. By titling each of the photographs "Untitled", as well as numbering them, Sherman depersonalizes the images.

There are also very few clues as to Sherman's personality in the photographs - each one is so unique and ambiguous that the viewer is left with more confusion than clarity over Sherman's true nature. Sherman completed the project three years later, in 1980, when she "ran out of

clichĂŠs" with which to work. This series gave Sherman much publicity and critical acclaim; she had her first solo show at the nonprofit space, the Kitchen, in New York City. In 1980 Sherman

also created a series of what she called "Rear-Screen Projections" in which, similarly to the Film Stills, Sherman dressed up and paraded against a projected slide background.

In 1981 Sherman was commissioned by the respected magazine Artforum to do a "centerfold" for one of their upcoming issues. Sherman proceeded to submit a series of images with a cohesive aesthetic look: the camera was placed above Sherman, who was often crouched on the ground or made to look like she was in a state of reverie. This series, as well as an additional series of

Sherman in a pink robe, was rejected by Artforum 's editor, Ingrid Sischy, who claimed that these photographs "might be misunderstood."

Sherman went on to change her style almost entirely in what are often referred to as the

Disasters and Fairy Tales series. For the first time in her public career, Sherman was not the

model in all of the images. Shot from 1985 until 1989, these images are far more grotesque than Sherman's earlier work. Often intentionally dressing to look scary and deformed, Sherman sets herself in strange, indefinable settings which often feature oddly colored lighting in shades of

blue, green and red. At times, Sherman employs dolls parts or prosthetic body parts to substitute for her own and many a scene is strewn with vomit, mold and other vile substances. Sherman's intent is to explore the disgusting, yet these are things that she admittedly can find beauty in.

Sherman's second most known body of work came some time after the Film Stills had already

been well received, around 1988-1990. In the History Portraits Sherman again uses herself as model, though this time she casts herself in roles from archetypally famous paintings. While

very few specific paintings are actually referenced, one still feels a familiarity of form between

Sherman's work and works by great masters. Using prosthetic body parts to augment her own

body, Sherman recreates great pieces of art and thus manipulates her role as a contemporary

artist working in the twentieth-century. Sherman lived abroad during this time in her life, and even though museums would appear to be the source of inspiration for this series, she is not a fan of museums: "Even when I was doing those history pictures, I was living in Rome but never went to the churches and museums there. I worked out of books, with reproductions. It's an aspect of photograph I appreciate, conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone."

In 1992 Sherman embarked on a series of photographs now referred to as "Sex Pictures." For

the first time, Sherman is entirely absent from these photographs. Instead, she again uses dolls

and prosthetic body parts, this time posed in highly sexual poses. Prosthetic genitalia - both male and female - are used often and photographed in extreme close-up. Photographed exclusively in color, these photographs are meant to shock. Sherman continued to work on these photographs

for some time and continued to experiment with the use of dolls and other replacements for what had previously been herself.

Sherman's life and work has been populated by more than just conceptual photography. She has been married to video artist Michel Auder for over 16 years and has found time in her

busy career to add work in motion pictures. In 1997, Sherman's directorial debut, Office Killer, starring Jeanne Tripplehorn, was released in theatres. A self-proclaimed lover of horror films,

Sherman draws on the characteristics of this genre as well as the visual motifs established as a still photographer. Sherman also made an appearance in front of the camera, making a cameo playing herself in John Waters' 1998 comedy Pecker .

http://www.cindysherman.com/biography.shtml

Because Sherman achieved international success at a relatively young age, her work has had a

considerable maturation in value over the past decade. In 1999 the average selling price for one of her photographs was $20,000 to $50,000, a hefty sum for a female photographer. Even more ground-breaking was a 1999 Christie's auction in which one of the photographs from Film Stills

sold for a reported $190,000. This bid was perhaps inspired by the Museum of Modern Art's lead: in 1996, they purchased a complete set from Film Stills for one million dollars. These prices are

indicative of Sherman's huge level of success, both critically and financially. Sherman's popularity continues to grow around the world, as she has exhibited countries including Germany, Japan, France.

Recently, Sherman has returned to using herself as model. At a recent show at her New York

gallery, Metro Pictures, Sherman displayed a series of portrait-like images of herself in the guise of women from California. These women are again simply types - The Personal Trainer, The

Ex-Realtor, The Divorcee, etc. Sherman further manipulates the notion of portraiture through the

use of conventional portrait signs including the setting of the figure against a neutral background. Unlike some of her early photographs, these are more straightforward images of created

characters, not narrative fragments. Sherman continues these projects in New York City, where she currently lives and works.

Feature Article Source 2

“Tell me what to do,” Cindy Sherman said, asking the photographer for guidance as she sat for her portrait. Her words seem almost comic, since she is posing in her own New York

studio, staring out at her camera and the mirror she keeps perched beside it, and the one

thing she has proved, across a career that turned 40 this year, is that she has known what to “do” in this setting.

She has used that camera and mirror to capture herself playing a vamp and a secretary, a starlet and a matron, a corpse and a clown and other iconic roles our culture has cast

women in. Now, after a sabbatical from the studio “coming to terms with health issues and getting older,” Ms. Sherman, 62, has produced her first new photos in five years. They are

more explicitly about herself than ever before — images that confront what aging means to

a woman. In the series, which starts May 5 at Metro Pictures gallery in New York, she plays the veteran leading ladies of cinema’s Golden Age, turning herself into avatars of Gloria

Swanson, Greta Garbo and others in their twilight years. “I relate so much to these women,” she said. “They look like they’ve been through a lot, and they’re survivors. And you can see some of the pain in there, but they’re looking forward and moving on.”

Ms. Sherman turned herself into avatars of aging starlets in her latest series. Ms. Sherman’s virtuosic acts of self-presentation have won her nearly every reward an artist could want,

from a MacArthur Fellowship to shows at MoMA, Documenta and the Venice Biennale, and her work has sold at auction for more than $6 million. In addition to the show in May that

inaugurates a remodeled Metro Pictures, in June the new Broad museum in Los Angeles will feature her lifetime’s work as its first special exhibition. Eli Broad, its founder, speaking from

Los Angeles, said he is especially excited to present his deep Sherman holdings to the local

audience, because of her photos’ strong roots in Hollywood. Those roots are especially clear in her latest images, where she’s dolled-up in Jazz Age furs and pearls. And now, as Ms. Sherman revealed, her love affair with Hollywood looks set to deepen.

“I want to start playing with moving images, and we’ll see where I go,” she said, jauntily

dressed in plaid Prada trousers and a blue short-sleeve sweater, with her hair in a ponytail.

So far, she has no idea if that means directing feature films or coming up with video versions of her still photos. She simply knows that she’s grown tired of the stills she’s been making

for so long: “When I first started this series, I thought ‘God, this is the last time I do this.’ I’m

so sick of using myself, how much more can I try to change myself?” The big surprise in her recent work is that she has made less of an effort to do so.

Seventeen years ago, when Ms. Sherman first explained her images to me, she was adamant that they were not about her: “I use myself the way I would use a mannequin. They’re not

autobiographical. They’re not fantasies of mine. I like to work completely alone, so instead of using models I use myself.”

On top of handling her own lights and cameras, Ms. Sherman has always done her own

costumes and makeup and hair. The interview in mid-April took place at a studio table rimmed with 15 wig stands, surrounding piles of false nails. Back in 1999, Ms. Sherman insisted that

“I’m under so many layers of makeup that I’m trying to obliterate myself in the images. I’m not

revealing anything.” Now she admits to a more “personal aspect” in her images of aging stars:

“I, as an older woman, am struggling with the idea of being an older woman.” Ms. Sherman said

that when she began this series she was afraid that “people would say, ‘Oh, she’s just gone back to the whole idea of the “Film Stills” again, only these women are older, and in color.’” Those

“Untitled Film Stills” were the 69 black-and-white photos, seemingly of actresses in B movies,

that shot Ms. Sherman to fame in the early 1980s — and that started out selling for all of $200.

A risk of repetition has obviously been there with each series of images in which she has posed as other women. With the latest photos, however, she’s closer to representing something fresh: Other women standing in for her.

Ms. Sherman described a typical movie star from the photos as a woman “who is now maybe

in 1960, but she is still stuck in the 1920s, so she’s still dressed or coifed that way.” The work

obviously tips its hat to “Sunset Boulevard,” but without that movie’s condescension toward its

mature star. Ms. Sherman said she was especially taken with the incongruity she’s put into her images: “When you look at the real publicity shots or the images of the actresses from those

days” — her studio walls are papered with them — “they’re all young, of course, and yet these women clearly aren’t.”

Ms. Sherman said she feels solidarity with Mary Beard, a classics scholar, who has recently felt obliged to leave behind the battles of ancient Rome to begin a campaign for a woman’s

right to age today: “You are looking at a 59-year-old woman,” is Ms. Beard’s message to men.

“That is what 59-year-old women who have not had work done look like. Get it?” Ms. Sherman, who described herself as “single, except for my bird” (a 25-year-old macaw), says that on the romantic front, at least, aging can have benefits. After years of bouncing from relationship to relationship, growing older has also left her more mature — “in a really good place, in being

happy with being single.” With her pictures of women her own age, Ms. Sherman seems to have returned to a tenderness that hasn’t been seen in her work for the last several decades. She

describes the images as “the most sincere things that I’ve done — that aren’t full of irony, or

caricature, or cartooniness — since the ‘Film Stills.’” It could even be that her mature leading

ladies should be thought of as the aspiring starlets of those “Film Stills” 40 years on, after they’ve achieved success and come out the other side.

Thanks to years of therapy, said Ms. Sherman, she is now willing to see aspects of herself even in her early photos. Their ever-changing self-presentation has roots in her childhood, when she

was growing up in a family with four much older siblings and found herself desperate to please. “I felt like this straggler that was running after them, saying ‘Hey, remember me? Don’t forget about me!’ It was easy to erase myself and put on somebody else’s face, and say, ‘Maybe now you

guys will remember me,’ or ‘How about this face, or that character?’” Some of the gowns used by Cindy Sherman in her studio. Credit Clement Pascal for The New York TimesTaken one by

one, the “Film Stills” confirm the reading that has made them famous: that a woman’s identity is

formed, and limited, by the images she’s seen of other women. That is, a woman learned how to

be a secretary from movies as much as from business school. Not many images could teach her about being a C.E.O.

In the words of the scholar Douglas Crimp, who gave the 25-year-old artist her first coverage

in the elite journal October, the “Film Stills” are “a hybrid of photography and performance art

that reveals femininity to be an effect of representation.” That’s what attracted Eli and Edythe

Broad to Ms. Sherman’s “Film Stills” back in October of 1982, when they came across them at Metro Pictures, which has represented Ms. Sherman for 36 years. “We were not photography

collectors, but we saw something there that went well beyond photography,” Mr. Broad recalled. Artificial nails litter a desk. Credit Clement Pascal for The New York Times

Taken as a whole, the shifting identity that runs across all 69 women in the “Film Stills” may also

reflect the real predicament of a single person: A youngest daughter trying to find her place in the world, and then in an art world that didn’t have an obvious role for her. Helene Winer, a founder

of Metro Pictures, said the artist has lost the shyness and hesitation that was once so clear. Ms. Sherman, whose new photos sell for as much as $500,000, is now established (or ensnared) in her role as Star. Some of her images have become just about as iconic as the Hollywood ones

she once riffed on, forming a new view of femininity in a postmodern age. The deliberate shape

shifting that goes on in an Instagram selfie stream has roots in the infiltration of Shermanalia into our culture.

Although Ms. Sherman expresses contempt for the superficialities of social media (“it seems

so vulgar to me”) her new images of old-time film stars also hint at our digitized present. Ms.

Sherman shot herself against a green screen, then used a computer to insert the landscapes behind her, many of which show off their digital origins. In one image, the branches of a tree

reach out from the center in perfect symmetry, as though tweaked with some Photoshop mirror function; in another, clouds look like they’ve been carved into relief with a chisel — or an Instagram filter.

If Ms. Sherman’s works have returned to the cinematic themes of “Film Stills,” maybe it shouldn’t surprise us that she is considering a turn to film itself. Although she and her first peers, the

Pictures Generation, mostly produced still photos and paintings, film was the “coin of the realm,” the painter David Salle said in a recent phone interview. “The grammar of the filmic shot, and

its ability to encapsulate so much information, was a pervasive influence.” A shelf in her studio. Credit Clement Pascal for The New York Times Ms. Sherman named her Broad survey “The

Imitation of Life,” after a 1959 melodrama by the director Douglas Sirk. In the show’s catalog, Ms. Sherman includes a conversation with the director Sofia Coppola in which she admits that she might even star in whatever movie she goes on to make next.

A catalog essay by the curator Philipp Kaiser mentions six tiny films that Ms. Sherman made in college as well as a much bigger effort that came halfway into her career, in 1996, when

she was invited to direct a horror feature called “Office Killer.” When it came out, the New York

Times art critic Roberta Smith described it as “a fascinating if lumpish bit of Shermaniana,” while Ms. Smith’s movie-critic colleague Stephen Holden panned it as “sadly inept.” Streamed today, individual scenes come off as promisingly Shermanesque, but the whole gets bogged down in

wooden acting and camp that feels dated. Ms. Sherman isn’t ashamed of the effort — she still

gets a kick out of its gore — but she recognizes that 20 years of working alone in the studio may not have been the best preparation for a movie’s team effort.

Ms. Winer blames the movie’s failure, if it was that, on who Ms. Sherman was at the time: “As

a director, she wasn’t comfortable telling people what to do.” Two decades further on, the artist said she can’t guarantee that she’ll turn out to have more skills as a director, but she’s pretty

sure she’ll be better at filling the role: “In some ways I am better equipped to understand what I want, and to make other people understand what I want as well.”

Feature Images

Cindy Sherman, Untitled Film Still #58, 1980. Gelatin silver print, 20.3 x 25.4 cm, edition 1/10. Solomon R. Guggenheim Museum, Gift, Ginny Williams 97.4611

Cindy Sherman Untitled Film Still #10 1978

Untitled Film Still #25 1979

Untitled #153 1958

“What I didn’t want were pictures showing strong emotions, which was rare to see; in film stills there’s a lot of overacting because they’re trying to sell the movie.” 1978. Gelatin silver print, 7 1/2 x 9 1/2" (19.1 x 24.1 cm) https://www.moma.org/learn/moma_learning/cindy-sherman-untitled-film-stills-1977-80

Date created 1982 Classification photograph Medium chromogenic print Dimensions 15 1/2 in. x 9 3/16 in. (39.37 cm x 23.34 cm)

Year 1979 Medium gelatin silver print Dimensions 30 in. x 40 in. (76.2 cm x 101.6 cm) a distraught woman stares slack-jawed from within a dimly lit room. The setting is claustrophobic, with its dark windows, shallow depth of field, and blurred detail. The photographer has chosen to focus on the womanâ&#x20AC;&#x2122;s face, forcing the viewer to confront its realities: The woman has been injured. Bruising around her eyes, an abrasion on her left cheek, and a swollen lower lip suggest she has been battered.

https://www.sfmoma.org/artwork/92.119

Artwork title Untitled Film Still #7 Artist name Cindy Sherman Date created 1978 Classification photograph

https://www.sfmoma.org/artwork/2003.205

Medium gelatin silver print Dimensions 10 in. x 8 in. (25.4 cm x 20.32 cm)

Quotes By Cindy Sherman

“We’re all products of what we want to project to the world. Even people who don’t spend any time, or think they don’t, on preparing themselves for the world out there – I think that ultimately they have for their whole lives groomed themselves to be a certain way, to present a face to the world.” – Cindy Sherman “Everyone thinks these are self-portraits but they aren’t meant to be. I just use myself as a model because I know I can push myself to extremes, make each shot as ugly or goofy or silly as possible.” – Cindy Sherman “The still must tease with the promise of a story the viewer of it itches to be told.” – Cindy Sherman “I am always surprised at all the things people read into my photos, but it also amuse me. That may be because I have nothing specific in mind when I’m working. My intentions are neither feminist nor political. I try to put double or multiple meanings into my photos, which might give rise to a greater variety of interpretations…” – Cindy Sherman “I didn’t think of what I was doing as political. To me it was a way to make the best out of what I liked to do privately, which was to dress up.” – Cindy Sherman

“If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already.. the challenge is more about trying to make what you can’t think of.” – Cindy Sherman “My ideas are not developed before I actually do the pieces.” – Cindy Sherman “I don’t analyze what I’m doing. I’ve read convincing interpretations of my work, and sometimes I’ve noticed something that I wasn’t aware of, but I think, at this point, people read into my work out of habit. Or I’m just very, very smart.” – Cindy Sherman “Every time you have to come up with a new body of work for a new show, you’re aware that people are just ready to rip you apart, they’re just waiting for you to fall or make the slightest trip up.” – Cindy Sherman “Believing in one’s own art becomes harder and harder when the public response grows fonder.” – Cindy Sherman “People think because it’s photography it’s not worth as much, and because it’s a woman artist, you’re still not getting as much – there’s still definitely that happening. I’m still really competitive when it comes to, I guess, the male painters and male artists. I still think that’s really unfair.” – Cindy Sherman

Word List 1. Independent 2. Creative 3. Whimsical

4. Isolated 5. Influential 6. Interesting 7. Artistic 8. Clique 9. Scenic 10. Suggestive 11. Indicative 13. Cinematic 14. Indicative 15. Historical 16. Manipulated 17. Imagery 18. Portrait 19. Busy 19. Chaotic 20. Stoic 21. Aging 22. Role play 23. Colorful 24. Rich 25. Intense 26. Hysterical

27. Thrilling 28. Theatrical 28. Scary 29. Dark 30. Sexual 31.Reenactment 32. Literal 33. Different 34. Dramatic 35. Challenging

36. Alluring 37. Provocative 38. Stimulation 39. Fascinating 40. Captivating 41. Narrative 42. Impulsive 43. Inspiring 44. Misleading 45. Unexpected

46. Unpredictable 47. Raunchy 48. Kinky 49. Eerie 50. Mysterious

6 Definitions

1. Challenging-

Stimulating, interesting, and thought-provoking

2. Alluring-

Fascinating or enticing

3. Provocative-

Tending or serving to provoke; inciting, stimulating, irritating, or vexing.

4. Stimulation-

To rouse to action or effort, as by encouragement or pressure; spur on; incite.

5. Fascinating

of great interest or attraction; enchanting; charming; captivating

6. Captivating-

To attract and hold the attention or interest of, as by beauty or excellence; enchant:

Quotes/ Call Outs “When I first started this

“I, as an older

‘God, this is the

struggling with

this.’ I’m so sick

an older woman.”

series, I thought

woman, am

last time I do

the idea of being

of using myself,

how much more can I try to

change myself?”

“They look like they’ve been

through a lot, and they’re survivors.

“I want to start

And you can

moving images,

pain in there, but

playing with

see some of the

and we’ll see

they’re looking

where I go,”

“In some ways

I am better

forward and

moving on.”

equipped to

understand what I want, and to

make other people understand what I want as well.”

-Cindy Sherman

Word Combinations

1. Dramatic Clique 2. Alluring Narrative 3. Captivating Portrait 4. Whimsically Eerie 5. Dramatic Fascination 6. Cinematic Portrait

Article Titles 1. Untitled narratives

Cindy Sherman

2. Captivate Photos

Cindy Sherman

3. Cinematic Portraits

Cindy Sherman

4. Eerie Narratives

Cindy Sherman

5. Fascinating Cinematic

Cindy Sherman

6. Thrilling Color

Cindy Sherman

Key Image

Image Search

https://luna-ku-edu.www2.lib.ku.edu/luna/servlet/detail/kuvc1havrc~1~1~2554342~270597?qvq=q%3Acindy%2Bsherman%3Bsort%3Acreator_name%2Ctitle%2Cdisplay_date%3Blc%3Akuvc1havrc~1~1&mi=4&trs=85#

Pecha Kucha

Cindy Sherman

Feature Berenice Abbot In 1917, Abbott quickly left home and enrolled at Ohio State University to study journalism. Within a two-week period Abbott befriended Sue Jenkins and became disgusted with the university system. Jenkins soon left the university to move to New York where she was engaged to Jimmy Light, a young director of the Famous Provincetown Playhouse. Jenkins encouraged Abbott to come and loaned her the $20 train fare. In 1918 Abbott arrived in the midst of one of New York’s blizzards. Abbott worked several jobs such as a waitress and a yarn dyer. During her time off she volunteered at the playhouse and even played several minor roles. At some time during her life in Greenwich Village, Abbott became interested in sculpture. Initially, Abbott had no interest in photography and had no intention of becoming anything but a good darkroom assistant. By 1921 Abbott realized that she would not be able to sustain a living with sculpture. Growing tired of New York, she decided to purchase a one-way ticket to Paris with hopes that her sculpture career would flourish. It did not. Man Ray moved to Paris a year after Abbott. The two met previously in New York. He opened a portrait studio to make a living. Although France was the birthplace of photography, surprisingly there were few working photographers. One

afternoon Man Ray was expressing difficulties with finding a good darkroom assistant. How about me? asked Abbott. Man Ray wanted someone without knowledge of photography, one he could shape and mold and Abbott needed a job. He agreed. And so began Abbott’s photography career. She was efficient and diligent, and soon found herself immensely enjoying the process. On her own, she began to work long hours to perfect her techniques. Man Ray did not teach me photographic techniques. One day he did, however, suggest that I ought to take some myself; he showed me how the camera worked and I soon began taking some on my lunch break. I would ask friends to come by and I’d take pictures of them. The first I took came out well, which surprised me. I had no idea of becoming a photographer, but the pictures kept coming out and most of them were good. Some were very good and I decided perhaps I could charge something for my work. Her artistic instinct with photographic imaging was natural. Abbott’s clientele grew quickly. She began to pay Man Ray for the supplies she used, and soon paid him more than she was making! This began to cause problems between the two friends. Eventually, Abbott resigned. He changed my whole life; he was

the only person I ever worked for and I was extremely grateful to have a job, to have the opportunity to learn. Within the next year she opened her own portrait studio, which was also her home at 44 rue de Bac. Her reputation grew quickly. Clients became friends and Abbott soon had just as much or more business than Man Ray. On June 8, 1926, Abbott had her first solo exhibition at the Jan Slivinsky Gallery entitled, Portraits Photographiques. The show received rave reviews. Abbott remained in Paris for almost ten years and during this period she was introduced to Eugene Atget’s photography. Abbott was consumed by Atget’s work, which she had first seen in Man Ray’s studio. I wanted to see more, and lost no time in seeking him out. After Abbott became a recognized portrait photographer, she wanted to take Atget’s portrait. After developing the images, Abbott returned to Atget’s apartment only to learn he had just recently died. A devastating blow, but Atget would never leave Abbott’s heart or mind. A long time friend of Atget’s, Andre Calmettes, had acquired his photographic collection, some

http://iphf.org/inductees/berenice-abbott-2/

1500 glass plate negatives and 8000 original prints. Abbott feverishly fought to acquire the collection from Calmettes. It took over a year of correspondence, and eventually Abbott convinced Calmettes that she should be the one to care and archive Atget’s images and negatives. She not only cared for the collection, but throughout her life, she attempted to gain recognition for his work. Atget is now recognized as one of the great photographers of all time. However, this period of Abbott’s life would soon come to an end. After reading Andre Siegfried’s America Comes of Age, Abbott decided to return to America. Abbott arrived New York in February 1929. The city had grown tremendously. Undoubtedly influenced by Atget who had photographed old Paris, Abbott’s first thought was “old New York” must be photographed from every aspect. Abbott opened a portrait studio in the Hotel des Artistes. Soon some of her portraits and images of the city were being published in magazines such as Vanity Fair, The Saturday Review of Literature, the Saturday Evening Post, Theater Guild Magazine and Fortune.

Images

Title: El, Second and Third Avenue Lines, Hanover Square and Pearl Street, Manhattan.

http://library.artstor.org.www2.lib.ku.edu/#/asset/NYU_DIB__959_1276949

Title Hoboken Ferry Terminal, Barclay Street general view

http://library.artstor.org.www2.lib.ku.edu/#/asset/HNEWMEXICO__1075_25970901

MANHATTAN BRIDGE LOOKING UP; November 11, 1936. Built 1909. Chief engineer: C. M. Ingersoll Fourth to span the East River, the Manhattan Bridge extends from the Bowery and Canal Street, Manhattan to Nassau and Bridge Streets, Brooklyn. Although not so superb n engineering achievement as Brooklyn Bridge, Manhattan Bridge preforms very useful transit functions, with eight railroad lines on different levels.

https://books.google.com/books?hl=en&lr=&id=fXDCAgAAQBAJ&oi=fnd&pg=PA1&dq=berenice+abbott+photography&ots=L2VY23PFfF&sig=FLHOZRMgeqmJ1NIAOTabdyYcB8g#v=onepage&q=berenice%20abbott%20photography&f=false https://www.google.com/search?q=berenice+abbott+photos&rlz=1C5CHFA_enUS708US708&tbm=isch&source=lnt&tbs=isz:l&sa=X&ved=0ahUKEwiZqI_XhefWAhXJqVQKHdfcCmYQpwUIHw&biw=722&bih=477&dpr=2.5#imgrc=ZMY46RUmekAySM:

Daily News Building. 220 East 42nd Street, Manhattan.

http://library.artstor.org.www2.lib.ku.edu/#/asset/NYU_DIB__959_1276959

RCA Bulding.

http://library.artstor.org.www2.lib.ku.edu/#/asset/NYU_DIB__959_1276936

Rockefeller Center

http://library.artstor.org.www2.lib.ku.edu/#/asset/NYU_DIB__959_1305921

Frame House on Cherry Street

Designer's Window, Bleecker Street general view

James Joyce

https://www.google.com/search?q=berenice+abbott+famous+photos&rlz=1C5CHFA_enUS708US708&tbm=isch&source=lnt&tbs=isz:l&sa=X&ved=0ahUKEwi6053wj-fWAhUp54MKHUQ2BhkQpwUIHw&biw=722&bih=512&dpr=2.5#imgdii=wFeuoJikbTSaZM:&imgrc=xnJPJS3oTY7oMM:

Sontag Essay Images

http://library.artstor.org.www2.lib.ku.edu/#/asset/ARTSTOR_103_41822001306719

http://library.artstor.org.www2.lib.ku.edu/#/asset/ARTSTOR_103_41822000085785

Herb Lubalin He was the typographer and designer behind avant garde. He also was an iconoclastic advertising art director—in the 1940s with Reiss Advertising and then for twenty years with Sudler and Hennessey. He was the typographer and designer behind its creation, after the success of Avant Garde Magazine and its typographic logo. But, his career spanned a much wider scope than that. One of the people behind the culture-shocking magazines Avant-Garde, Eros and Fact, he was a constant boundary breaker on both a visual and social level. Part of the founding team of the International Typeface Corporation (ITC) and the principal of Herb Lubalin, Inc it was hard to escape the reach of Herb during the 1960s and 70s. His constant search for something new and a passion for inventiveness made him one of the most successful art directors of the 20th century. He had offices internationally in Paris and London and partnered with many talented individuals over the years including Aaron Burns, Tom Carnase, Ernie Smith and Ralph Ginzburg. A graduate of the Cooper Union in New York he spent time as a visiting professor there as well as designed a logo for them. Constantly working and achieving much success throughout his career, at the age of 59 he proclaimed “I have just completed my internship.” Coming to terms with Herb Lubalin’s work takes you quickly to the heart of a very big subject: the theory of meaning and how meaning is communicated—how an idea is moved, full and resonant, from one mind to another. Not many have been able to do that better than Lubalin.Typography is the key. It is where you start with Lubalin and what you eventually come back to. However, “typography” is not a word Lubalin thought should be applied to his work. “What I do is not really typography, which I think of as an essentially mechanical means of putting characters down on a page. It’s designing with letters. Aaron Burns called it, ‘typographics,’ and since you’ve got to put a name on things to make them memorable, ‘typographics’ is as good a name for what I do as any.” http://www.designishistory.com/ 1960/herb-lubalin/ http://www.aiga.org/medalist-herblubalin

Esquire Magazine the magazine had broadened its focus and increased in popularity, due in large part to the famous Varga Girl covers.As the only generalinterest lifestyle magazine for sophisticated men, Esquire defines, reflects and celebrates what it means to be a man in contemporary American culture.The magazine has always been a showcase for writers, beginning in the 30s with Ernest Hemingway and F. Scott Fitzgerald, and including the pioneers of socalled New Journalism in the 60s—Tom Wolfe, Norman Mailer and Gay Talese, among others. The magazine is regularly recognized as on of America's top magazines. Esquire is special because it’s a magazine for men. Not a fashion magazine for men, not a health magazine for men, not a money magazine for men. It is not any of these things; it is all of them. It is, and has been for nearly seventy years, a magazine about the interests, the curiosity, the passions, of men. From 1962 to 1972 he moonlighted as the art director for Harold Hayes’s Esquire magazine, designing 44 covers revered for their simple images, complex messages, and outrageous gall. Those covers, installed in the Museum of Modern Art’s permanent collection in 2008, include a portrait of the Seneca chief who had posed, 52 years previously, for the buffalo nickel, and a depiction of Muhammad Ali, recently stripped of his world heavyweight title for dodging the Vietnam draft, as the arrow-riddled martyr St. Sebastian. In light of the past few months’ string of controversies over magazine covers, we asked Lois to share a sketch and several photographs from one of his most famous covers, in which Andy Warhol drowns in a can of Campbell’s soup.

https://www.britannica.com/topic/ Esquire-American-magazine

Alexey Brodovitch Alexey Brodovitch was a photographer, designer and teacher. However, he was most famous for his art direction, primarily for the magazine Harper’s Bazaar. He spent his early life in and out of the military before spending time in Paris, which is where he began his career in the graphic arts. His first major success came after winning a poster competition for a local theater, the 2nd place poster was created by Picasso. He is remembered today as the art director of Harper’s Bazaar for nearly a quarter of a century. But the volatile Russian emigré’s influence was much broader and more complex than his long tenure at a fashion magazine might suggest. He played a crucial role in introducing into the United States a radically simplified, “modern” graphic design style forged in Europe in the 1920s from an amalgam of vanguard movements in art and design. Through his teaching, he created a generation of designers sympathetic to his belief in the primacy of visual freshness and immediacy. Fascinated with photography, he made it the backbone of modern magazine design, and he fostered the development of an expressionistic, almost primal style of picture-taking that became the dominant style of photographic practice in the 1950s. In addition, Brodovitch is virtually the model for the modern magazine art director. He did not simply arrange photographs, illustrations and type on the page; he took an active role in conceiving and commissioning all forms of graphic art, and he specialized in discovering and showcasing young and unknown talent. His first assistant in New York was a very young Irving Penn. Leslie Gill, Richard Avedon and Hiro are among the other photographers whose work Brodovitch nurtured during his long career. So great was his impact on the editorial image of Harper’s Bazaar that he achieved celebrity status; the film Funny Face, for example, which starred Fred Astaire as a photographer much like Avedon, named its art-director character “Dovitch.” Despite his professional achievements and public success, however, Brodovitch was never a happy man. Born in Russia in 1898 of moderately well-to-do parents, he deferred his goal of attending the Imperial Art Academy to fight in the Czarist army, first against the Austro-Hungarian Empire and then against the Bolsheviks. In defeat, he fled Russia with his family and future wife and, in 1920, settled in Paris. There, despite the burden of exile, he prospered; in 1924 his poster design for an artists’ ball won first prize, and in 1925 he won medals for fabric, jewelry and display design at the International Exhibition of Decorative Arts (the landmark “Art Deco” exposition). Soon he was in great demand, designing restaurant décor, posters and department store advertisements.He came to the United States in 1930 to start a department of advertising (later known as the Philadelphia College of Art). There he trained students in the fundamentals of European design, while embarking on numerous freelance illustration assignments in Philadelphia and New York. In 1934 Carmel Snow, the new editor of Harper’s Bazaar, saw his design work and immediately hired him to be its art director. It was the beginning of a collaboration that was to revolutionize both fashion and magazine design, and that catapulted Bazaar past its arch-rival, Vogue.

http://www.aiga.org/medalistalexeybrodovitch http://www.designishistory.com/ 1940/alexey-brodovitch/

Jonathan Hoefler Hoefler is a typeface designer and armchair type historian whose New York studio, The Hoefler Type Foundry, specializes in the design of original typefaces. Hoefler is on the list because he is Famous for creating a company that creates long-lived typefaces marked by high performance and high style, H&Co creates the fonts that help shape the world’s foremost institutions, publications, causes, and brands. Jonathan Hoefler has been designing typefaces for nearly thirty years. Through his work at Hoefler&Co, the company he founded in 1989, his lifelong love of typography has found countless avenues: he has both designed typefaces and worked with his team of designers to create them, and has designed type specimens, mobile experiences, and websites, including the Cloud.typography webfont platform, the App.typography service, and the award-winning Discover.typography. He writes and illustrates the H&Co blog, and in 2016 created his first short film about typeface design. Jonathan Hoefler is a typographer that specializes in the design of original typefaces.He was born on August 22, 1970 in NY. Hoefler was self-taught.By the age of 19, he was already working with magazine art director, Roger Black, for about a year. Jonathan was named one of the forty most influential designers in America by I.D. Magazine.In 2002, The Association Typographique Internationale (ATypl) Presented him with its most prestigious award, the Prix Charles Peignot, for outstanding contributions to type design. He also receieved the 2013 AIGA Medal. Later on the lawsuit was settled and Hoelfer changed the company name to Hoefler & Co. In 1999, Hoefler began working with type designer Tobias Frere-Jones. From 2005 to 2014 the company operated under the name Hoefler & Frere-Jones until their public split in January 2014.In January, FrereJones accused Hoefler of scamming him out of his half of the multimillion dollar business. So Tobias sued Jonathan. In the years since, small caps and old-style figures have become standard issues with the best text faces from all of the world’s great type foundries. The Hoefler Text, was designed in 1991. Hoefler Text had sparked the interest of the developers at Apple, where a new technology called “TrueType GX” was being create. Apple licensed Hoefler Text for its addition in the Macintosh operating system. It has a library of about 800 typefaces, including the famous Gotham and Hoefler Text fonts. The company was responsible for some of the most popular new fonts to come out in the past 20 years. His institutional clients range from the Solomon R. Guggenheim, Museum to the rock band They Might Be Giants. Jonathan’s publishing works includes award-winning original typeface designs for: Rolling Stone, Harper’s Bazaar, The New York Times Magazine, Sports Illustrated, and Esquire

https://www.typography.com/about/ https://prezi.com/ow0nagmthrym/jonathan-hoefler/

Gail Anderson

http://gailycurl.com/ About-Contact http://www.aiga.org /medalistgailanderson

Gail Anderson is a New York-based designer, writer, and educator. She is a partner, with Joe Newton, at Anderson Newton Design. From 2002 through 2010, she served as Creative Director of Design at SpotCo, a New York City advertising agency that creates artwork for Broadway and institutional theater. From 1987 to early 2002, she worked at Rolling Stone magazine, serving as designer, deputy art director, and finally, as the magazine’s senior art director. And early in her career, Gail was a designer at The Boston Globe Sunday Magazine and Vintage Books (Random House). Anderson’s work has received awards from major design organizations, including the Society of Publication Designers, the Type Directors Club, The American Institute of Graphic Arts, The Art Directors Club, Graphis, Communication Arts, and Print. In addition, it has also been included in the permanent collections of the Cooper Hewitt Design Museum, the Library of Congress, and the Milton Glaser Design Archives. During the early part of her career Gail Anderson was seen but not much heard, which doesn’t mean she wasn’t outspoken. In fact, typographically speaking she was incredibly eloquent. At Rolling Stone magazine, where she held numerous positions from 1987–2002, starting as an associate and becoming senior art director, Anderson lent her flair to much of the conceptual typography that defined the magazine’s feature pages. She appreciably contributed to the widespread eclectic typographic fashion that prevailed throughout the 1990s but never fell into a style trap. For much of her tenure at Rolling Stone, working with art director (and AIGA Medalist) Fred Woodward, she fine-tuned her typographic expressionism in a cramped office filled floor to ceiling with all kinds of stimulating scraps, devising quirky letterforms out of traditional and untraditional materials, from hot metal and wood type to twigs and bottle caps. From this typographic wellspring came an ever-expanding vocabulary of signs and symbols, methods and mannerisms that, in turn, influenced a slew of designers who followed (and at times copied) her graphic eccentricities. After Rolling Stone she joined SpotCo, one of the largest entertainment design agencies in New York, where she is now creative director of design, and for half a dozen years her poster designs for scores of Broadway and off-Broadway plays have illuminated bus shelters, subway stations and billboards. The most difficult time in her career came in 2002, after her move to SpotCo, when negotiating the transition from editorial design to advertising. “You approach each project searching for a dozen great ideas, not just one or two,” Anderson explains of how her work competes for the attention (and dollars) of theatergoers. “After about seven designs, you realize there really are infinite ways to look at a problem. I now completely enjoy the process, though I’m keenly aware that all but one of those dozen great ideas will eventually be killed. It’s strangely liberating.”

David Carson David Carson is a prominent contemporary graphic designer and art director. His unconventional and experimental graphic style revolutionized the graphic designing scene in America during 1990s. He was the art director of the magazine Ray Gun, in which he introduced the innovative typographies and distinct layouts. He is claimed to be the godfather of ‘grunge typography’ which he employed perpetually in his magazine issues. David Carson embarked on his passion for graphic designing in his later life. In the beginning he worked as a designer for a magazine, Self and Musician, covering surfers’ interests. His early experiences also include working for Transworld Skateboarding magazine which paved way for his experimental designing. He became the art director for the magazine in 1984 and revised its style and layout until his tenure ended. Typography spun into a whirling end-of-century gyre in the 1990s, and David Carson was at its center. The incendiary pages of Ray Gun magazine inflamed the eyes and minds of countless young designers who sought to tap into the freedoms unlocked by his bold new style. Carson shaped everything in his path for his own purposes, endlessly contorting type, layout and grid into new configurations and abandoning design’s established truths of order and legibility. He represented a new breed of visual author. In 1980, Carson was a 26-year-old high school teacher in southern Oregon. He received a flyer in the mail—intended for high school seniors—for a summer program in graphic design at the University of Arizona in Tucson and decided to attend. The workshop was run by Jackson Boelts, who became a mentor and lifelong friend. A few years later Carson enrolled in a summer workshop in Rapperswil, Switzerland, where instructor Hans-Rudolf Lutz challenged him to work experimentally and to find reasons for shaping form in particular ways. By the early 1990s, digital tools were colliding with Modernism’s exploded vocabulary. Designers could now make and manipulate form through direct action in real time. QuarkXPress and PageMaker were Carson’s primary medium of visual authorship, compelling him to work faster and to try more things in a shorter time. The new tools enabled the iterations and accidents that are crucial to experimental work, but they were not magic pills for instant talent. Carson explains, “It’s the basic decisions—images, cropping and appropriate font and design choices—that make design work, not having the ability to overlap or play with opacity.” He also explains, “Graphic design seems a bit stagnant now, and a lot of people and ideas have gone to other areas of expression.”

http://www.famousgraphicdesigners.org/david-carson

American surfer and graphic designer, whose unconventional style revolutionized visual communication in the 1990s.

Tibor Kalman While he is of Hungarian descent, Tibor was a very influential American graphic designer in the 1980s and 90s. He attended NYU, where he studied journalism, before dropping out and going to work for a small book store. The store would eventually become Barnes and Noble, the literary retail giant, Tibor would become the director of their in-house design firm. Together with Carol Bokuniewicz and Liz Trovato he formed the design company M&Co., which was named after his wife, Maira.He is most famous for his provocative work for the publications Interview, and especially Colors. Kalman became the founding editor-in-chief of the magazine, which covered a specific, and often controversial, topic with each issue. His designs for the covers of the first 13 issues garnered him much attention as a designer. Tibor was a tough ringmaster. If any speaker went thirty seconds beyond his or her allotted time (or if Tibor felt that the talk was unbearably dull) the amplified sound of barking dogs would pierce the presenter’s soliloquy, signaling the end of the segment. In addition, Tibor introduced quirky short films, an unexpected pizza delivery (by a nonplussed delivery boy), and souvenir handouts (designed by a job printer and reproduced at QuickCopy) that showed design at its most rudimentary, yet communicative. As a new twist on the old ventriloquist’s dummy, Tibor’s onstage straight man was a Mac Classic with a happy face that quipped at programmed intervals. This was the first of many public salvos against the status quo. It was also vintage Tibor. Not since the height of American Modernism during the late 1940s and 1950s had one designer prodded other designers to take responsibility for their work as designer-citizens. With a keen instinct for public relations, a penchant for Barnum-like antics, and a radical consciousness from his days as an organizer for SDS (Students for a Democratic Society), Tibor had, by the late 1980s, become known as (or maybe he even dubbed himself) the “bad boy” of graphic design. When the clothing company Esprit, which had prided itself as being socially liberal and environmentally friendly, was awarded the 1986 AlGA Design Leadership award, an irate Tibor anonymously distributed leaflets during the awards ceremony at the AlGA National Design Conference in San Francisco protesting the company’s exploitation of Asian laborers. Tibor believed that award-winning design was not separate from the entire corporate ethic and argued that “many bad companies have great design.” In 1989, as co-chair with Milton Glaser of the AlGA’s “Dangerous Ideas” conference in San Antonio, he urged designers to question the effects of their work on the environment and refuse to accept any client’s product at face value. As an object lesson and act of hubris, he challenged designer Joe Duffy to an impromptu debate about a full-page advertisement that he and his then partner, British corporate designer Michael Peters, had placed in the Wall Street Journal promoting their services to Fortune 500 corporations. While most designers admired this self-promotional effort, Tibor insisted that the ad perpetuated mediocrity and was an example of selling out to corporate capitalism. This outburst was the first, but not the last, in which Tibor criticized another designer in public for perceived misdeeds. By the early 1990s, Tibor also had written (or collaborated with others in writing) numerous finger-wagging manifestos that exposed the pitfalls of what he sarcastically called “professional” design. Tibor saw himself as a social activist for whom graphic design was a means of achieving two ends: good design and social responsibility. Good design, which he defined as “unexpected and untried,” added more interest, and was thus a benefit, to everyday life. Second, since graphic design is mass communication, Tibor believed it should be used to increase public awareness of a variety of social issues. His own design firm, M&Co (named after his wife and co-creator, Maira), which started in 1979 selling conventional “design by the pound” to banks and department stores, was transformed in the mid-1980s into a soapbox for his social mission.

http://www.designishistory. com/1980/tibor-kalman/ http://www.aiga.org/medalist-tiborkalman

Neville Brody Neville Brody is a London born designer who studied design in Britian during the 1970s. He spent three years studying at the London College of Printing where his work, which was quite experimental in nature, was met with quite unfavorable criticism because the school generally taught traditional printing methods. By 1977, punk rock was beginning to have a major effect upon London life and, while this had a great impact upon Brody’s work and motivation, was not well received by his tutors. At one point he was almost thrown out of the college for putting the Queen’s head sideways on a postage stamp design. He did, however, get the chance to design posters for student concerts at the college, most notably for Pere Ubu, supported by The Human League.In spite of the postage stamp episode, Brody was not only motivated by the energies of punk. His firstyear thesis had been based around a comparison between Dadaism and pop art.He gained a fair amount of attention as an art director for The Face magazine, where he worked from 1980 to 1993. The magazine was very popular in the 1980s, it was called a “fashion bible” and set many of the trends of design which enjoyed success during the same time period. In 1994, Neville Brody still also continues to work as a graphic designer and together with business partner Fwa Richards launched his own design practice, Research Studios, in London in . Since then studios have been opened in Paris, Berlin and Barcelona. The company is best known for its ability to create new visual languages for a variety of applications ranging from publishing to film. It also creates innovative packaging and website design for clients such as Kenzo, corporate identity for clients such as Homechoice, and on-screen graphics for clients such as Paramount Studios, makers of the Mission Impossible films. Recent projects include the redesign of the BBC in September 2011, The Times in November 2006 with the creation of a new font Times Modern. The typeface shares many visual similarities with Mercury designed by Jonathan Hoefler. It is the first new font at the newspaper since it introduced Times New Roman in 1932. he formed Neville Brody Studio, now Research Studios, which has enjoyed much success and has since expanded to include offices in London, Paris, Berlin and Barcelona. He is a founding member of the London based type foundry Fontworks and has designed over 20 different typefaces during his career. He was also a major contributor to FUSE, which was a publication about the practice of experimental typography and was an avid user of the computer as a design tool during its developmental stages. Neville Brody is a British Graphic Designer, Typographer and Art Director currently working in his own design practice called Research Studios.He may be best known for his work on ‘The Face’ magazine and various album covers, but he’s also a leading typographer and internationally recognised brand strategist.In 1988, Thames & Hudson published part one of a two-volume set of Neville Brody’s work – The Graphic Language of Neville Brody, which became the best-selling graphic design book in the world. To coincide with that, his work was exhibited at the Victoria and Albert Museum which attracted over 40,000 visitors. He is a founding partner of FontShop and has designed many typefaces such as Industria, Insignia and Blur, which was included in the Museum of Modern Art’s architecture and design collection in 1992. Despite making a name for himself through his work in the 80s and 90s, Neville Brody’s recent work includes a rebranding of the BBC in 2011, a redesign of The Times’ typography in 2006 and on-screen graphics for Paramount Studios.

http://inkbotdesign.com/neville-brody/ http://www.designishistory.com/ 1980/neville-brody/ http://www.historygraphicdesign. com/the-age-of-information/postmodern-design/531-neville-brody

Step 1 Untitled Work by Cindy Sherman

Alluring Narratives Photographer of Cindy Sherman

Cinematic Portraits Cindy Sherman

Font Brain Storm 1.Untitled

Alluring Narratives Cinematic Portraits Photogarpher By Cindy Sherman Work By Cindy Sherman

2. Untitled

Alluring Narratives Cinematic Portraits Photogarpher By Cindy Sherman Work By Cindy Sherman

3.Untitled

Alluring Narratives Cinematic Portraits Photographer By Cindy Sherman

4.Untitled