Pb nov 12

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 Sontag’s novel, On Photography.

1

Feature Article Source 1

By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather,

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.

Sherman's life began in 1954, in Glen Ridge, New Jersey, a suburb of New York City. Her family having moved shortly after her birth, Sherman grew up as the youngest of five children in the town of Huntington, Long Island. Unlike some budding artists, Sherman was not particularly

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.

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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 woman’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)

2

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

3

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

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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

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Font studies: mix one Sans and one Serif family

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Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur?

Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat.

Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur?

Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti.

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio dolup-

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem.

Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius

INTRO TEXT 14/18PT:

CALL OUTS 24/36 pt BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam

In re et que etustest, qui remquatur abo.

Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur?

Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur?

Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat.

Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga.

Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat.

Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur?

Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti.

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo.

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo.

Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat.

Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat.

Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat.

Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur?

Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti.

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title

THIS IS A SUBHEAD INTRO TEXT 14/18PT: Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo.

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo.

Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga.

Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat.

Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat.

Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga.

Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur?

Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti.

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur?

Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus mag-

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo.

Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat.

Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat.

Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur?

Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti.

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiun-

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt om-

modio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo.

CALL OUTS 24/36 pt

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Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat.

Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat.

Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur?

Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur?

Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur?

Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti.

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

7

Round 1: Cindy Sherman Spreads

2

COLORS Magazine

COLORS Magazine

3

WORK OF CINDY SHERMAN

BY BLAKE GOPNIK

4

Those roots are especially clear in her latest images,

because of her photos’ strong roots in Hollywood.

his deep Sherman holdings to the local audience,

Angeles, said he is especially excited to present

exhibition. Eli Broad, its founder, speaking from Los

will feature her lifetime’s work as its first special

in June the new Broad museum in Los Angeles

May that inaugurates a remodeled Metro Pictures,

for more than $6 million. In addition to the show in

Venice Biennale, and her work has sold at auction

Fellowship to shows at MoMA, Documenta and the

reward an artist could want, from a MacArthur

acts of self-presentation have won her nearly every

starlets in her latest series. Ms. Sherman’s virtuosic

Ms. Sherman turned herself into avatars of aging

in there, but they’re looking forward and moving on.”

they’re survivors. And you can see some of the pain

“They look like they’ve been through a lot, and

years. “I relate so much to these women,” she said.

Swanson, Greta Garbo and others in their twilight

Golden Age, turning herself into avatars of Gloria

she plays the veteran leading ladies of cinema’s

starts May 5 at Metro Pictures gallery in New York,

herself than ever before — imageIn the series, which

photos in five years. They are more explicitly about

older,” Ms. Sherman, 62, has produced her first new

“coming to terms with health issues and getting

women in. Now, after a sabbatical from the studio

a clown and other iconic roles our culture has cast

a secretary, a starlet and a matron, a corpse and

and mirror to capture herself playing a vamp and

to “do” in this setting.She has used that camera

that turned 40 this year, is that she has known what

and the one thing she has proved, across a career

camera and the mirror she keeps perched beside it,

posing in her own New York studio, staring out at her

portrait. Her words seem almost comic, since she is

the photographer for guidance as she sat for her

“Tell me what to do,” Cindy Sherman said, asking

they’re survivors.”

been through a lot, and

“They look like they’ve

Gopnik

5

shot Ms. Sherman to fame in the early 1980s —

photos, seemingly of actresses in B movies, that

“Untitled Film Stills” were the 69 black-and-white

only these women are older, and in color.’” Those

back to the whole idea of the “Film Stills” again,

afraid that “people would say, ‘Oh, she’s just gone

said that when she began this series she was

the idea of being an older woman.” Ms. Sherman

stars: “I, as an older woman, am struggling with

to a more “personal aspect” in her images of aging

images. I’m not revealing anything.” Now she admits

of makeup that I’m trying to obliterate myself in the

Sherman insisted that “I’m under so many layers

surrounding piles of false nails. Back in 1999, Ms.

place at a studio table rimmed with 15 wig stands,

makeup and hair. The interview in mid-April took

Sherman has always done her own costumes and

On top of handling her own lights and cameras, Ms.

alone, so instead of using models I use myself.”

not fantasies of mine. I like to work completely

mannequin. They’re not autobiographical. They’re

not about her: “I use myself the way I would use a

images to me, she was adamant that they were

years ago, when Ms. Sherman first explained her

she has made less of an effort to do so.Seventeen

myself?” The big surprise in her recent work is that

using myself, how much more can I try to change

‘God, this is the last time I do this.’ I’m so sick of

for so long: “When I first started this series, I thought

that she’s grown tired of the stills she’s been making

video versions of her still photos. She simply knows

means directing feature films or coming up with

hair in a ponytail. So far, she has no idea if that

trousers and a blue short-sleeve sweater, with her

I go,” she said, jauntily dressed in plaid Prada

playing with moving images, and we’ll see where

with Hollywood looks set to deepen. “I want to start

And now, as Ms. Sherman revealed, her love affair

where she’s dolled-up in Jazz Age furs and pearls.

6

Sherman women. With the latest photos, however, she’s

series of images in which she has posed as other

of repetition has obviously been there with each

and that started out selling for all of $200. A risk

other side.

after they’ve achieved success and come out the

aspiring starlets of those “Film Stills” 40 years on,

mature leading ladies should be thought of as the

— since the ‘Film Stills.’” It could even be that her

look at the real publicity shots or the images of the

incongruity she’s put into her images: “When you

Sherman said she was especially taken with the

movie’s condescension toward its mature star. Ms.

tips its hat to “Sunset Boulevard,” but without that

dressed or coifed that way.” The work obviously

but she is still stuck in the 1920s, so she’s still

the photos as a woman “who is now maybe in 1960,

Ms. Sherman described a typical movie star from

Cindy Sherman in her studio. Credit Clement

or that character?’” Some of the gowns used by

guys will remember me,’ or ‘How about this face,

somebody else’s face, and say, ‘Maybe now you

about me!’ It was easy to erase myself and put on

them, saying ‘Hey, remember me? Don’t forget

“I felt like this straggler that was running after

siblings and found herself desperate to please.

was growing up in a family with four much older

presentation has roots in her childhood, when she

in her early photos. Their ever-changing self-

she is now willing to see aspects of herself even

Thanks to years of therapy, said Ms. Sherman,

closer to representing something fresh: Other

actresses from those days” — her studio walls are

women standing in for her.

papered with them — “they’re all young, of course,

woman,” is Ms. Beard’s message to men. “That

to age today: “You are looking at a 59-year-old

Rome to begin a campaign for a woman’s right

obliged to leave behind the battles of ancient

Beard, a classics scholar, who has recently felt

Ms. Sherman said she feels solidarity with Mary

being a C.E.O.

school. Not many images could teach her about

a secretary from movies as much as from business

other women. That is, a woman learned how to be

formed, and limited, by the images she’s seen of

has made them famous: that a woman’s identity is

one, the “Film Stills” confirm the reading that

Pascal for The New York TimesTaken one by

and yet these women clearly aren’t.”

is what 59-year-old women who have not had

as “the most sincere things that I’ve done — that

the last several decades. She describes the images

tenderness that hasn’t been seen in her work for

age, Ms. Sherman seems to have returned to a

single.” With her pictures of women her own

“in a really good place, in being happy with being

growing older has also left her more mature —

of bouncing from relationship to relationship,

front, at least, aging can have benefits. After years

(a 25-year-old macaw), says that on the romantic

described herself as “single, except for my bird”

well beyond photography,” Mr. Broad recalled.

collectors, but we saw something there that went

Sherman for 36 years. “We were not photography

at Metro Pictures, which has represented Ms.

in October of 1982, when they came across them

Edythe Broad to Ms. Sherman’s “Film Stills” back

representation.” That’s what attracted Eli and

art that reveals femininity to be an effect of

are “a hybrid of photography and performance

in the elite journal October, the “Film Stills”

gave the 25-year-old artist her first coverage

In the words of the scholar Douglas Crimp, who

work done look like. Get it?” Ms. Sherman, who

aren’t full of irony, or caricature, or cartooniness

7

8

that, on who Ms. Sherman was at the time: “As a director, she wasn’t comfortable telling people

better equipped to understand what I want, and

be better at filling the role: “In some ways I am

8

more skills as a director, but she’s pretty sure she’ll

said she can’t guarantee that she’ll turn out to have

what to do.” Two decades further on, the artist

Ms. Winer blames the movie’s failure, if it was

to film itself. Although she and her first peers, the

preparation for a movie’s team effort.

alone in the studio may not have been the best

— but she recognizes that 20 years of working

of the effort — she still gets a kick out of its gore

camp that feels dated. Ms. Sherman isn’t ashamed

whole gets bogged down in wooden acting and

come off as promisingly Shermanesque, but the

as “sadly inept.” Streamed today, individual scenes

movie-critic colleague Stephen Holden panned it

if lumpish bit of Shermaniana,” while Ms. Smith’s

critic Roberta Smith described it as “a fascinating

Killer.” When it came out, the New York Times art

invited to direct a horror feature called “Office

halfway into her career, in 1996, when she was

college as well as a much bigger effort that came

mentions six tiny films that Ms. Sherman made in

A catalog essay by the curator Philipp Kaiser

star in whatever movie she goes on to make next.

Coppola in which she admits that she might even

includes a conversation with the director Sofia

Douglas Sirk. In the show’s catalog, Ms. Sherman

of Life,” after a 1959 melodrama by the director

Sherman named her Broad survey “The Imitation

Clement Pascal for The New York Times Ms.

pervasive influence.” A shelf in her studio. Credit

ability to encapsulate so much information, was a

interview. “The grammar of the filmic shot, and its

the painter David Salle said in a recent phone

and paintings, film was the “coin of the realm,”

shouldn’t surprise us that she is considering a turn

representation.”

be an effect of

femininity to

art that reveals

and performance

photography

“a hybrid of

Pictures Generation, mostly produced still photos

the cinematic themes of “Film Stills,” maybe it

filter. If Ms. Sherman’s works have returned to

carved into relief with a chisel — or an Instagram

function; in another, clouds look like they’ve been

as though tweaked with some Photoshop mirror

reach out from the center in perfect symmetry,

origins. In one image, the branches of a tree

behind her, many of which show off their digital

then used a computer to insert the landscapes

Sherman shot herself against a green screen,

film stars also hint at our digitized present. Ms.

so vulgar to me”) her new images of old-time

the superficialities of social media (“it seems

Although Ms. Sherman expresses contempt for

infiltration of Shermanalia into our culture.

in an Instagram selfie stream has roots in the

age. The deliberate shape shifting that goes on

forming a new view of femininity in a postmodern

iconic as the Hollywood ones she once riffed on,

Some of her images have become just about as

now established (or ensnared) in her role as Star.

whose new photos sell for as much as $500,000, is

hesitation that was once so clear. Ms. Sherman,

Pictures, said the artist has lost the shyness and

role for her. Helene Winer, a founder of Metro

then in an art world that didn’t have an obvious

daughter trying to find her place in the world, and

real predicament of a single person: A youngest

women in the “Film Stills” may also reflect the

whole, the shifting identity that runs across all 69

Pascal for The New York Times Taken as a

Artificial nails litter a desk. Credit Clement

Narrative

10

COLORS Magazine

BY BLAKE GOPNIK

Untitled

WORK OF CINDY SHERMAN

11

12

Untitled

she said. “They look like they’ve

dressed in plaid Prada trousers

with her hair in a ponytail. So far,

Ms. Sherman turned herself into latest series. Ms. Sherman’s

at MoMA, Documenta and the

show in May that inaugurates

in Los Angeles will feature her

exhibition. Eli Broad, its founder,

They are more explicitly about images that confront what aging

his deep Sherman holdings to the

she plays the veteran leading

local audience, because of her

he is especially excited to present

Pictures gallery in New York,

which starts May 5 at Metro

speaking from Los Angeles, said

lifetime’s work as its first special

means to a woman. In the series,

herself than ever before —

June the new Broad museum

a remodeled Metro Pictures, in

first new photos in five years.

Sherman, 62, has produced her

than $6 million. In addition to the

issues and getting older,” Ms.

“coming to terms with health

has sold at auction for more

Venice Biennale, and her work

after a sabbatical from the studio

culture has cast women in. Now,

MacArthur Fellowship to shows

clown and other iconic roles our

and a matron, a corpse and a

an artist could want, from a

have won her nearly every reward

virtuosic acts of self-presentation

avatars of aging starlets in her

a vamp and a secretary, a starlet

mirror to capture herself playing

She has used that camera and

setting.

that they were not about her:

images to me, she was adamant

Ms. Sherman first explained her

Seventeen years ago, when

made less of an effort to do so.

in her recent work is that she has

change myself?” The big surprise

how much more can I try to

this.’ I’m so sick of using myself,

‘God, this is the last time I do

first started this series, I thought

been making for so long: “When I

she’s grown tired of the stills she’s

photos. She simply knows that

up with video versions of her still

directing feature films or coming

she has no idea if that means

and a blue short-sleeve sweater,

where I go,” she said, jauntily

moving images, and we’ll see

“I want to start playing with

has known what to “do” in this

turned 40 this year, is that she

of the pain in there, but they’re looking forward and moving on.”

beside it, and the one thing she has proved, across a career that

Hollywood looks set to deepen.

survivors. And you can see some

been through a lot, and they’re

revealed, her love affair with

pearls. And now, as Ms. Sherman

dolled-up in Jazz Age furs and

in her latest images, where she’s

Those roots are especially clear

photos’ strong roots in Hollywood.

and the mirror she keeps perched

studio, staring out at her camera

relate so much to these women,”

is posing in her own New York

seem almost comic, since she

others in their twilight years. “I

she sat for her portrait. Her words

Gloria Swanson, Greta Garbo and

turning herself into avatars of

ladies of cinema’s Golden Age,

photographer for guidance as

Sherman said, asking the

“Tell me what to do,” Cindy

Those “Untitled Film Stills” were

women are older, and in color.’”

“Film Stills” again, only these

back to the whole idea of the

would say, ‘Oh, she’s just gone

series she was afraid that “people

said that when she began this

an older woman.” Ms. Sherman

struggling with the idea of being

stars: “I, as an older woman, am

aspect” in her images of aging

she admits to a more “personal

I’m not revealing anything.” Now

to obliterate myself in the images.

layers of makeup that I’m trying

insisted that “I’m under so many

nails. Back in 1999, Ms. Sherman

stands, surrounding piles of false

a studio table rimmed with 15 wig

interview in mid-April took place at

and makeup and hair. The

always done her own costumes

and cameras, Ms. Sherman has

On top of handling her own lights

using models I use myself.”

completely alone, so instead of

fantasies of mine. I like to work

autobiographical. They’re not

use a mannequin. They’re not

“I use myself the way I would

they’re survivors.”

been through a lot, and

“They look like they’ve 13

14

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

“a hybrid of photography and performance art that reveals femininity to be an effect of representation.”

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

this face, or that character?’”

and say, ‘Maybe now you guys

me!’ It was easy to erase myself

running after them, saying ‘Hey,

found herself desperate to please.

was growing up in a family with

changing self-presentation has

to see aspects of herself even

Thanks to years of therapy, said

and come out the other side.

of those “Film Stills” 40 years on,

world that didn’t have an obvious

daughter trying to find her place

also reflect the real predicament

identity that runs across all 69

Pascal for The New York Times

Mr. Broad recalled. Artificial nails

but we saw something there that

Ms. Sherman for 36 years. “We

they came across them at Metro

to Ms. Sherman’s “Film Stills”

representation.” That’s what

performance art that reveals

October, the “Film Stills” are

coverage in the elite journal

Sherman in her studio. Credit

founder of Metro Pictures, said

“Film Stills” confirm the reading

Clement Pascal for The New

Some of the gowns used by Cindy

will remember me,’ or ‘How about

and put on somebody else’s face,

remember me? Don’t forget about

“I felt like this straggler that was

four much older siblings and

roots in her childhood, when she

in her early photos. Their ever-

Ms. Sherman, she is now willing

role for her. Helene Winer, a

in the world, and then in an art

of a single person: A youngest

women in the “Film Stills” may

Taken as a whole, the shifting

litter a desk. Credit Clement

went well beyond photography,”

were not photography collectors,

Pictures, which has represented

back in October of 1982, when

attracted Eli and Edythe Broad

femininity to be an effect of

“a hybrid of photography and

York TimesTaken one by one, the

after they’ve achieved success

that has made them famous: that

15

Sherman

16

Photography

was the “coin of the realm,” the

Credit Clement Pascal for The

melodrama by the director

admits that she might even star

make next. A catalog essay by the

as though tweaked with some another, clouds look like they’ve

Photoshop mirror function; in

the center in perfect symmetry,

six tiny films that Ms. Sherman

curator Philipp Kaiser mentions

in whatever movie she goes on to

Sofia Coppola in which she

a conversation with the director

digital origins. In one image, the branches of a tree reach out from

catalog, Ms. Sherman includes

Douglas Sirk. In the show’s

her, many of which show off their

to insert the landscapes behind

screen, then used a computer

Imitation of Life,” after a 1959

shot herself against a green

New York Times Ms. Sherman named her Broad survey “The

digitized present. Ms. Sherman

old-time film stars also hint at our

vulgar to me”) her new images of

influence.” A shelf in her studio.

information, was a pervasive

contempt for the superficialities of social media (“it seems so

its ability to encapsulate so much

grammar of the filmic shot, and

recent phone interview. “The

painter David Salle said in a

Although Ms. Sherman expresses

culture.

infiltration of Shermanalia into our

selfie stream has roots in the

still photos and paintings, film

that goes on in an Instagram

age. The deliberate shape shifting

Generation, mostly produced

and her first peers, the Pictures

a turn to film itself. Although she

surprise us that she is considering

of “Film Stills,” maybe it shouldn’t

returned to the cinematic themes

If Ms. Sherman’s works have

chisel — or an Instagram filter.

been carved into relief with a

view of femininity in a postmodern

she once riffed on, forming a new

as iconic as the Hollywood ones

images have become just about

in her role as Star. Some of her

now established (or ensnared)

sell for as much as $500,000, is

Ms. Sherman, whose new photos

hesitation that was once so clear.

the artist has lost the shyness and

understand what I want as well.”

what I want, and to make other people

I am better equipped to understand

better at filling the role: “In some ways

director, but she’s pretty sure she’ll be

she’ll turn out to have more skills as a

the artist said she can’t guarantee that

what to do.” Two decades further on,

she wasn’t comfortable telling people

Sherman was at the time: “As a director,

failure, if it was that, on who Ms.

effort.Ms. Winer blames the movie’s

the best preparation for a movie’s team

alone in the studio may not have been

she recognizes that 20 years of working

she still gets a kick out of its gore — but

Sherman isn’t ashamed of the effort —

acting and camp that feels dated. Ms.

whole gets bogged down in wooden

promisingly Shermanesque, but the

today, individual scenes come off as

panned it as “sadly inept.” Streamed

movie-critic colleague Stephen Holden

bit of Shermaniana,” while Ms. Smith’s

described it as “a fascinating if lumpish

York Times art critic Roberta Smith

Killer.” When it came out, the New

to direct a horror feature called “Office

career, in 1996, when she was invited

bigger effort that came halfway into her

made in college as well as a much

17

14

18

By Blake Gopnik COLORS Magazine

By Blake Gopnik

19

20

Cinematic Angeles, said he is especially excited to present his

exhibition. Eli Broad, its founder, speaking from Los

will feature her lifetime’s work as its first special

in June the new Broad museum in Los Angeles

May that inaugurates a remodeled Metro Pictures,

for more than $6 million. In addition to the show in

Venice Biennale, and her work has sold at auction

Fellowship to shows at MoMA, Documenta and the

reward an artist could want, from a MacArthur

acts of self-presentation have won her nearly every

starlets in her latest series. Ms. Sherman’s virtuosic

Ms. Sherman turned herself into avatars of aging

they’re looking forward and moving on.”

And you can see some of the pain in there, but

they’ve been through a lot, and they’re survivors.

much to these women,” she said. “They look like

Garbo and others in their twilight years. “I relate so

herself into avatars of Gloria Swanson, Greta

leading ladies of cinema’s Golden Age, turning

Pictures gallery in New York, she plays the veteran

a woman. In the series, which starts May 5 at Metro

before — images that confront what aging means to

They are more explicitly about herself than ever

62, has produced her first new photos in five years.

with health issues and getting older,” Ms. Sherman,

after a sabbatical from the studio “coming to terms

iconic roles our culture has cast women in. Now,

and a matron, a corpse and a clown and other

herself playing a vamp and a secretary, a starlet

She has used that camera and mirror to capture

known what to “do” in this setting.

a career that turned 40 this year, is that she has

beside it, and the one thing she has proved, across

at her camera and the mirror she keeps perched

is posing in her own New York studio, staring out

portrait. Her words seem almost comic, since she

the photographer for guidance as she sat for her

“Tell me what to do,” Cindy Sherman said, asking

“Film Stills” again, only these women are older, and in

say, ‘Oh, she’s just gone back to the whole idea of the

she began this series she was afraid that “people would

being an older woman.” Ms. Sherman said that when

“I, as an older woman, am struggling with the idea of

a more “personal aspect” in her images of aging stars:

images. I’m not revealing anything.” Now she admits to

of makeup that I’m trying to obliterate myself in the

Sherman insisted that “I’m under so many layers

surrounding piles of false nails. Back in 1999, Ms.

place at a studio table rimmed with 15 wig stands,

makeup and hair. The interview in mid-April took

Sherman has always done her own costumes and

On top of handling her own lights and cameras, Ms.

use myself.”

to work completely alone, so instead of using models I

autobiographical. They’re not fantasies of mine. I like

myself the way I would use a mannequin. They’re not

she was adamant that they were not about her: “I use

when Ms. Sherman first explained her images to me,

made less of an effort to do so.Seventeen years ago,

The big surprise in her recent work is that she has

myself, how much more can I try to change myself?”

‘God, this is the last time I do this.’ I’m so sick of using

so long: “When I first started this series, I thought

she’s grown tired of the stills she’s been making for

versions of her still photos. She simply knows that

means directing feature films or coming up with video

her hair in a ponytail. So far, she has no idea if that

Prada trousers and a blue short-sleeve sweater, with

see where I go,” she said, jauntily dressed in plaid

“I want to start playing with moving images, and we’ll

set to deepen.

Sherman revealed, her love affair with Hollywood looks

dolled-up in Jazz Age furs and pearls. And now, as Ms.

are especially clear in her latest images, where she’s

of her photos’ strong roots in Hollywood. Those roots

deep Sherman holdings to the local audience, because

they’re survivors.”

been through a lot, and

“They look like they’ve

21

Sherman 22

color.’” Those “Untitled Film Stills” were the 69 blackand-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 hybrid of photography

and performance art that

reveals femininity to be an

effect of representation.”

leading ladies should be thought of as the aspiring

starlets of those “Film Stills” 40 years on, after they’ve

work for the last several decades. She describes the

returned to a tenderness that hasn’t been seen in her

of women her own age, Ms. Sherman seems to have

in being happy with being single.” With her pictures

also left her more mature — “in a really good place,

from relationship to relationship, growing older has

least, aging can have benefits. After years of bouncing

25-year-old macaw), says that on the romantic front, at

who described herself as “single, except for my bird” (a

have not had work done look like. Get it?” Ms. Sherman,

message to men. “That is what 59-year-old women who

are looking at a 59-year-old woman,” is Ms. Beard’s

a campaign for a woman’s right to age today: “You

leave behind the battles of ancient Rome to begin

learned how to be a secretary from movies as much as

images she’s seen of other women. That is, a woman

that a woman’s identity is formed, and limited, by the

confirm the reading that has made them famous:

New York TimesTaken one by one, the “Film Stills”

Sherman in her studio. Credit Clement Pascal for The

that character?’” Some of the gowns used by Cindy

guys will remember me,’ or ‘How about this face, or

on somebody else’s face, and say, ‘Maybe now you

forget about me!’ It was easy to erase myself and put

running after them, saying ‘Hey, remember me? Don’t

desperate to please. “I felt like this straggler that was

family with four much older siblings and found herself

roots in her childhood, when she was growing up in a

photos. Their ever-changing self-presentation has

now willing to see aspects of herself even in her early

Thanks to years of therapy, said Ms. Sherman, she is

achieved success and come out the other side.

images as “the most sincere things that I’ve done — that

a classics scholar, who has recently felt obliged to

aren’t full of irony, or caricature, or cartooniness —

her about being a C.E.O.

from business school. Not many images could teach

since the ‘Film Stills.’” It could even be that her mature

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

23

24

Portraits feature called “Office Killer.” When it came out, the

career, in 1996, when she was invited to direct a horror

as a much bigger effort that came halfway into her

six tiny films that Ms. Sherman made in college as well

A catalog essay by the curator Philipp Kaiser mentions

to make next.

that she might even star in whatever movie she goes on

with the director Sofia Coppola in which she admits

show’s catalog, Ms. Sherman includes a conversation

a 1959 melodrama by the director Douglas Sirk. In the

named her Broad survey “The Imitation of Life,” after

Clement Pascal for The New York Times Ms. Sherman

a pervasive influence.” A shelf in her studio. Credit

its ability to encapsulate so much information, was

phone interview. “The grammar of the filmic shot, and

of the realm,” the painter David Salle said in a recent

produced still photos and paintings, film was the “coin

she and her first peers, the Pictures Generation, mostly

that she is considering a turn to film itself. Although

themes of “Film Stills,” maybe it shouldn’t surprise us

If Ms. Sherman’s works have returned to the cinematic

relief with a chisel — or an Instagram filter.

in another, clouds look like they’ve been carved into

though tweaked with some Photoshop mirror function;

tree reach out from the center in perfect symmetry, as

their digital origins. In one image, the branches of a

the landscapes behind her, many of which show off

against a green screen, then used a computer to insert

at our digitized present. Ms. Sherman shot herself

me”) her new images of old-time film stars also hint

superficialities of social media (“it seems so vulgar to

Although Ms. Sherman expresses contempt for the

Shermanalia into our culture.

Instagram selfie stream has roots in the infiltration of

age. The deliberate shape shifting that goes on in an

on, forming a new view of femininity in a postmodern

about as iconic as the Hollywood ones she once riffed

her role as Star. Some of her images have become just

much as $500,000, is now established (or ensnared) in

so clear. Ms. Sherman, whose new photos sell for as

artist has lost the shyness and hesitation that was once

Helene Winer, a founder of Metro Pictures, said the

in an art world that didn’t have an obvious role for her.

daughter trying to find her place in the world, and then

the real predicament of a single person: A youngest

as well.”

want, and to make other people understand what I want

some ways I am better equipped to understand what I

she’s pretty sure she’ll be better at filling the role: “In

that she’ll turn out to have more skills as a director, but

decades further on, the artist said she can’t guarantee

wasn’t comfortable telling people what to do.” Two

who Ms. Sherman was at the time: “As a director, she

Ms. Winer blames the movie’s failure, if it was that, on

team effort.

may not have been the best preparation for a movie’s

recognizes that 20 years of working alone in the studio

effort — she still gets a kick out of its gore — but she

that feels dated. Ms. Sherman isn’t ashamed of the

whole gets bogged down in wooden acting and camp

scenes come off as promisingly Shermanesque, but the

panned it as “sadly inept.” Streamed today, individual

Ms. Smith’s movie-critic colleague Stephen Holden

as “a fascinating if lumpish bit of Shermaniana,” while

New York Times art critic Roberta Smith described it

25

Q/A Reading 1.

What are the advantages of a multiple column grid.?

It gives you more options for text. While single-column grids work well for simple documents, multicolumn grids provide flexible formats for publications that have a complex hierarchy or that integrate text and illustrations. The more columns you create, the more flexible your grid becomes.

2.

How many characters is optimal for a line length? words per line?

50-60 are optional per line.

3.

Why is the baseline grid used in design?

Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the typesize and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12).

Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences.

4.

What are reasons to set type justified? ragged (unjustified)?

Choosing to align text in justified, centered, or ragged columns is a fundamental typographic act. Each mode of alignment carries unique formal qualities, cultural associations, and aesthetic risks.

5.

What is a typographic river? rivers of white, are gaps in typesetting, which appear to run through a paragraph of text, due to a coincidental alignment of spaces.

6.

What does clothesline, hangline or flow line mean?

In addition to creating vertical zones with the columns of the grid, you can also divide the page horizontally. For example, an area across the top can be reserved for images and captions, and body text can “hang� from a common line. Graphic designers call this a hang line.

7.

What is type color/texture mean?

A visual hierarchy helps readers scan a text, knowing where to enter and exit and how to pick and choose among its offerings. Emphasizing a word or phrase within a body of text usually requires only one signal. Italic is the standard form of emphasis. There are many alternatives, however, including boldface, small caps, or a change in color.

8.

How does x-height effect type color?

If you want to mix font families, such as Scala and Helvetica, adjust the sizes so that the x-heights align.

9.

What are some ways to indicate a new paragraph?

In the seventeenth century, it became standard to indent the first line of a paragraph and break the line at the end. Commercial printing tends to embrace fragmentation over wholeness, allowing readers to sample bits and pieces of text. Modern literary forms such as the interview invite designers to construct inventive typographic systems. In the beginning of a text, the reader needs an invitation to come inside. Enlarged capitals, also called versals, commonly mark the entrance to a chapter in a book or an article in a magazine. Many medieval manuscripts are illuminated with elaborately painted rubrics. This tradition continued with the rise of the printing press. At first, initials were hand-painted onto printed pages, making mass-produced books resemble manuscripts, which were more valuable than printed books. Initials soon became part of typography.

8

15 Magazine Covers for Inspiration.

Thoughts These magazine spreads are great inspiration for me because the title

of the work is kept the same consistantly and the hierachy is phenomi-

nal. The title is the first thing people will see when looking at a magizine rack, making it memorable. Also the subjects of the cover take up at-

least 75% of the background at all times. The use of color is also strategically used, making the viewers eye draw to the magazine cover itself.

Also, another feature I noticed about the magazine spreads I chose was that the title on the covers was usually highly constrasted against the

cover. In other words, if the picture on the cover was very light, then the title was dark letters. I thought this was instresting becuase it built on

that hiearchy because ven through the picture is the largest thing on the cover, it is that title of the magazine that the viewer will see first,

9

10 Magazine Cover Ideas

Photogragh Vol. 1 November 2017

Featuring the work of Cindy Sherman

Vol. 1 November 2017

Featuring the work of Cindy Sherman

Featuring the work of Cindy Sherman

Photogragh Vol. 1 November 2017

Photogragh

Featuring the work of Cindy Sherman

Vol. 1 November 2017

Featuring the work of Cindy Sherman

Vol. 1 November 2017

Photogragh

Vol. 1 November 2017

Photogragh

Featuring the work of Cindy Sherman

Photogragh

Featuring the work of Cindy Sherman

Vol. 1 November 2017

Photogragh Vol. 1 November 2017

Featuring the work of Cindy Sherman

Vol. 1 November 2017

Photogragh Featuring the work of Cindy Sherman

Featuring the work of Cindy Sherman

Photogragh Vol. 1 November 2017

Round 2 Cindy Sherman Spreads (2 Separate Ideas)

BY BLAKE GOPNIK

COLOR MAGAZINE

2

3

4

turned 40 this year, is that she

has proved, across a career that

beside it, and the one thing she

and the mirror she keeps perched

studio, staring out at her camera

is posing in her own New York

seem almost comic, since she

sat for her portrait. Her words

photographer for guidance as she

Sherman

the

“Tell me what to do,” Cindy

like they’ve been through a lot,

women,” she said. “They look

years. “I relate so much to these

Garbo and others in their twilight

avatars of Gloria Swanson, Greta

Golden Age, turning herself into

veteran leading ladies of cinema’s

gallery in New York, she plays the

starts May 5 at Metro Pictures

to a woman. In the series, which

that confront what aging means

herself than ever before — images

They are more explicitly about

to present his deep Sherman

said

speaking

exhibition. Eli Broad, its founder,

lifetime’s work as its first special

in Los Angeles will feature her

June the new Broad museum

remodeled Metro Pictures, in

show in May that inaugurates a

$6 million. In addition to the

has sold at auction for more than

Venice Biennale, and her work

at MoMA, Documenta and the

MacArthur Fellowship to shows

an artist could want, from a

asking

has known what to “do” in this

and they’re survivors. And you

said,

setting.She has used that camera

holdings to the local audience,

especially

excited

into avatars of aging starlets in

Ms.

now, as Ms. Sherman revealed,

in Jazz Age furs and pearls. And

images, where she’s dolled-up

are especially clear in her latest

roots in Hollywood. Those roots

is

Angeles,

and mirror to capture herself

can see some of the pain in there,

because of her photos’ strong

Los

playing a vamp and a secretary, a

but they’re looking forward and

from

starlet and a matron, a corpse and

he

a clown and other iconic roles our

moving on.”

after a sabbatical from the studio

her latest series. Ms. Sherman’s

her love affair with Hollywood

culture has cast women in. Now, “coming to terms with health

virtuosic acts of self-presentation

herself

issues and getting older,” Ms.

have won her nearly every reward

turned

Sherman, 62, has produced her

Sherman

first new photos in five years.

Untitled #153 1958

5

6

video versions of her still photos.

has no idea if that means directing feature films or coming up with

and a blue short-sleeve sweater, with her hair in a ponytail. So far, she

we’ll see where I go,” she said, jauntily dressed in plaid Prada trousers

looks set to deepen.“I want to start playing with moving images, and

took place at a studio table rimmed with 15 wig stands, surrounding

her own costumes and makeup and hair. The interview in mid-April

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

work completely alone, so instead of using models I use myself.”On top

They’re not autobiographical. They’re not fantasies of mine. I like to

$200. A risk of repetition has obviously been there with each series of

to fame in the early 1980s — and that started out selling for all of

photos, seemingly of actresses in B movies, that shot Ms. Sherman

in color.’” Those “Untitled Film Stills” were the 69 black-and-white

whole idea of the “Film Stills” again, only these women are older, and

so many layers of makeup that I’m trying to obliterate myself in the With the latest photos, however, she’s closer to representing

images in which she has posed as other women.

She simply knows that she’s grown tired of the stills she’s been making

images. I’m not revealing anything.”

piles of false nails. Back in 1999, Ms. Sherman insisted that “I’m under for so long: “When I first started this series, I thought ‘God, this is the

she has made less of an effort to do so.Seventeen years ago, when Ms.

I try to change myself?” The big surprise in her recent work is that

was afraid that “people would say, ‘Oh, she’s just gone back to the

older woman.” Ms. Sherman said that when she began this series she

stars: “I, as an older woman, am struggling with the idea of being an

Now she admits to a more “personal aspect” in her images of aging

“Sunset Boulevard,” but without that movie’s condescension toward

still dressed or coifed that way.” The work obviously tips its hat to

is now maybe in 1960, but she is still stuck in the 1920s, so she’s

described a typical movie star from the photos as a woman “who

something fresh: Other women standing in for her Ms. Sherman

Sherman first explained her images to me, she was adamant that they

last time I do this.’ I’m so sick of using myself, how much more can

were not about her: “I use myself the way I would use a mannequin.

7

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

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 TimesTaken 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.

8

in her role as Star. Some of her

now established (or ensnared)

sell for as much as $500,000, is

Ms. Sherman, whose new photos

the show’s catalog, Ms. Sherman

by the director Douglas Sirk. In

of Life,” after a 1959 melodrama

her Broad survey “The Imitation

York Times Ms. Sherman named

Clement Pascal for The New understand what I want as well.”

want, and to make other people

equipped to understand what I

director Sofia Coppola in which

includes a conversation with the she admits that she might even

images have become just about she

star in whatever movie she goes

forming

a new view of femininity in a

on to make next. A catalog essay

Although Ms. Sherman expresses

a horror feature called “Office

when she was invited to direct

halfway into her career, in 1996,

as a much bigger effort that came

on,

postmodern age. The deliberate

by the curator Philipp Kaiser

contempt for the superficialities

Killer.”

riffed

shape shifting that goes on in an

mentions six tiny films that Ms.

of social media (“it seems so

once

Instagram selfie stream has roots

as iconic as the Hollywood ones

in the infiltration of Shermanalia

vulgar to me”) her new images of

Sherman made in college as well

into our culture.

old-time film stars also hint at our

many of which show off their

insert the landscapes behind her,

screen, then used a computer to

shot

panned

colleague

while Ms. Smith’s movie-critic

lumpish bit of Shermaniana,”

described it as “a fascinating if

Times art critic Roberta Smith

When it came out, the New York

digitized present. Ms. Sherman

digital origins. In one image, the

Streamed

as

inept.”

individual

“sadly

today,

surprise us that she is considering

of “Film Stills,” maybe it shouldn’t

returned to the cinematic themes

If Ms. Sherman’s works have

the movie’s failure, if it was that,

team effort.Ms. Winer blames

the best preparation for a movie’s

in the studio may not have been

that 20 years of working alone

of its gore — but she recognizes

effort — she still gets a kick out

green

branches of a tree reach out from

scenes come off as promisingly

a turn to film itself. Although she

on who Ms. Sherman was at the

a

the center in perfect symmetry,

Shermanesque, but the whole

and her first peers, the Pictures

time: “As a director, she wasn’t

against

as though tweaked with some

gets bogged down in wooden

Generation, mostly produced still

comfortable telling people what

herself

Photoshop mirror function; in

acting and camp that feels dated.

Holden

another, clouds look like they’ve

Stephen

been carved into relief with a

photos and paintings, film was the

to do.” Two decades further on,

Ms. Sherman isn’t ashamed of the

it

chisel — or an Instagram filter.

“coin of the realm,” the painter

the artist said she can’t guarantee

of

that she’ll turn out to have more

grammar

interview.

skills as a director, but she’s pretty

“The

the filmic shot, and its ability to

David Salle said in a recent phone

encapsulate so much information,

role: “In some ways I am better

sure she’ll be better at filling the

was a pervasive influence.”

A shelf in her studio. Credit

Untitled #213. 1989

9

Idea Number 2

BY BLAKE GOPNIK

COLOR MAGAZINE

2

3

4

Untitled #153 1958

5

culture has cast women in. Now,

clown and other iconic roles our

and a matron, a corpse and a

vamp and a secretary, a starlet

to capture herself playing a

has used that camera and mirror

what to “do” in this setting.She

this year, is that she has known

across a career that turned 40

the one thing she has proved,

keeps perched beside it, and

her camera and the mirror she

New York studio, staring out at

since she is posing in her own

words

she sat for her portrait. Her

photographer for guidance as

Sherman

comic,

the

“Tell me what to do,” Cindy

ponytail. So far, she has no idea if

sleeve sweater, with her hair in a

Prada trousers and a blue short-

she said, jauntily dressed in plaid

images, and we’ll see where I go,”

want to start playing with moving

Hollywood looks set to deepen.“I

revealed, her love affair with

pearls. And now, as Ms. Sherman

dolled-up in Jazz Age furs and

in her latest images, where she’s

Those roots are especially clear

strong

audience, because of her photos’

Sherman holdings to the local

excited

Los Angeles, said he is especially

Broad, its founder, speaking from

as its first special exhibition. Eli

will feature her lifetime’s work

Broad museum in Los Angeles

Metro Pictures, in June the new

seem

almost

asking

after a sabbatical from the studio

that means directing feature films

said,

“coming to terms with health

or coming up with video versions

ladies of cinema’s Golden Age,

she plays the veteran leading

Pictures gallery in New York,

which starts May 5 at Metro

means to a woman. In the series,

images that confront what aging

in her recent work is that she

change myself?” The big surprise

how much more can I try to

this.’ I’m so sick of using myself,

‘God, this is the last time I do

first started this series, I thought

been making for so long: “When I

grown tired of the stills she’s

She simply knows that she’s

Hollywood.

turning herself into avatars of

has made less of an effort to do

in

Gloria Swanson, Greta Garbo

so.Seventeen years ago, when

roots

deep

issues and getting older,” Ms.

of her still photos.

his

Sherman, 62, has produced her

present

first new photos in five years.

to

They are more explicitly about

and others in their twilight

Ms. Sherman first explained her

herself than ever before —

years. “I relate so much to these

women are older, and in color.’”

women,” she said. “They look

Those

images to me, she was adamant

were

that they were not about her:

I’m trying to obliterate myself

B movies, that shot Ms. Sherman

like they’ve been through a lot,

in the images. I’m not revealing

to fame in the early 1980s — and

“I use myself the way I would autobiographical.

anything.”

that started out selling for all

and they’re survivors. And you

fantasies of mine. I like to work

Now she admits to a more

of $200. A risk of repetition has

can see some of the pain in there,

completely alone, so instead of

“personal aspect” in her images

obviously been there with each

use a mannequin. They’re not

Ms. Sherman turned herself using models I use myself.”On

of aging stars: “I, as an older

series of images in which she has

but they’re looking forward and

into avatars of aging starlets in top of handling her own lights

woman, am struggling with the

posed as other women.

moving on.”

her latest series. Ms. Sherman’s

and cameras, Ms. Sherman has

idea of being an older woman.”

69

closer

black-and-white

to

representing

photos, seemingly of actresses in

the

Stills”

virtuosic acts of self-presentation

The

always done her own costumes

Ms. Sherman said that when she

Film

every and

began this series she was afraid

“Untitled

have

interview in mid-April took place

that “people would say, ‘Oh, she’s

not

reward an artist could want,

at a studio table rimmed with

With the latest photos, however,

They’re

from a MacArthur Fellowship

15 wig stands, surrounding piles

she’s

nearly

to shows at MoMA, Documenta

of false nails. Back in 1999, Ms.

just gone back to the whole idea of

her

and the Venice Biennale, and

the “Film Stills” again, only these

won

her work has sold at auction

Sherman insisted that “I’m under

hair.

for more than $6 million. In

so many layers of makeup that

and

addition to the show in May

makeup

that inaugurates a remodeled

6

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

7

something fresh: Other women Ms. Sherman, she is now willing of

the

for her. Helene Winer, a founder by the curator Philipp Kaiser

on to make next. A catalog essay

star in whatever movie she goes

to relationship, growing older

of bouncing from relationship

can have benefits. After years

romantic front, at least, aging

old macaw), says that on the

except for my bird” (a 25-year-

described herself as “single,

Get it?” Ms. Sherman, who

not had work done look like.

59-year-old women who have

message to men. “That is what

old woman,” is Ms. Beard’s

“You are looking at a 59-year-

a woman’s right to age today:

Rome to begin a campaign for

behind the battles of ancient

has recently felt obliged to leave

Beard, a classics scholar, who

she feels solidarity with Mary

aren’t.”

and yet these women clearly

“they’re all young, of course,

walls are papered with them —

from those days” — her studio

or the images of the actresses

look at the real publicity shots

into her images: “When you

with the incongruity she’s put

said she was especially taken

its mature star. Ms. Sherman

movie’s condescension toward

Boulevard,” but without that

obviously tips its hat to “Sunset

or coifed that way.” The work

1920s, so she’s still dressed

but she is still stuck in the

“who is now maybe in 1960,

at Metro Pictures, which has

when they came across them

Stills” back in October of 1982,

Broad to Ms. Sherman’s “Film

what attracted Eli and Edythe

effect of representation.” That’s

that reveals femininity to be an

photography and performance art

“Film Stills” are “a hybrid of

the elite journal October, the

old artist her first coverage in

Crimp, who gave the 25-year-

the words of the scholar Douglas

teach her about being a C.E.O.In

school. Not many images could

movies as much as from business

how to be a secretary from

women. That is, a woman learned

images

is formed, and limited, by the

famous: that a woman’s identity

the reading that has made them

one, the “Film Stills” confirm

New York TimesTaken one by

Credit Clement Pascal for The

Sherman in her studio.

Some of the gowns used by Cindy

this face, or that character?’”

remember me,’ or ‘How about

say, ‘Maybe now you guys will

on somebody else’s face, and

was easy to erase myself and put

me? Don’t forget about me!’ It

them, saying ‘Hey, remember

straggler that was running after

desperate to please.“I felt like this

older siblings and found herself

up in a family with four much

childhood, when she was growing

presentation has roots in her

Their

other

the filmic shot, and its ability to

interview.

David Salle said in a recent phone

“coin of the realm,” the painter

photos and paintings, film was the

Generation, mostly produced still

and her first peers, the Pictures

a turn to film itself. Although she

surprise us that she is considering

of “Film Stills,” maybe it shouldn’t

returned to the cinematic themes

If Ms. Sherman’s works have

chisel — or an Instagram filter.

been carved into relief with a

another, clouds look like they’ve

Photoshop mirror function; in

as though tweaked with some

the center in perfect symmetry,

branches of a tree reach out from

digital origins. In one image, the

many of which show off their

insert the landscapes behind her,

screen, then used a computer to

shot

time film stars also hint at our

me”) her new images of old-

media (“it seems so vulgar to

for the superficialities of social

Sherman

into our culture. Although Ms.

in the infiltration of Shermanalia

Instagram selfie stream has roots

shape shifting that goes on in an

postmodern age. The deliberate

a new view of femininity in a

she

green

digitized present. Ms. Sherman

as iconic as the Hollywood ones

images have become just about

in her role as Star. Some of her

now established (or ensnared)

sell for as much as $500,000, is

Ms. Sherman, whose new photos

hesitation that was once so clear.

understand what I want as well.”

want, and to make other people

equipped to understand what I

role: “In some ways I am better

sure she’ll be better at filling the

skills as a director, but she’s pretty

that she’ll turn out to have more

to do.” Two decades further on,

comfortable telling people what

time: “As a director, she wasn’t

on who Ms. Sherman was at the

the movie’s failure, if it was that,

team effort.Ms. Winer blames

the best preparation for a movie’s

in the studio may not have been

that 20 years of working alone

of its gore — but she recognizes

effort — she still gets a kick out

Ms. Sherman isn’t ashamed of the

acting and camp that feels dated.

gets bogged down in wooden

Shermanesque, but the whole

scenes come off as promisingly

Streamed

panned

colleague

while Ms. Smith’s movie-critic

lumpish bit of Shermaniana,”

described it as “a fascinating if

Times art critic Roberta Smith

When it came out, the New York

Killer.”

a horror feature called “Office

when she was invited to direct

halfway into her career, in 1996,

as a much bigger effort that came

Sherman made in college as well

mentions six tiny films that Ms.

said

to see aspects of herself even in artist has lost the shyness and

has also left her more mature —

represented Ms. Sherman for 36

encapsulate so much information,

Pictures,

standing in for her Ms. Sherman her early photos.

“in a really good place, in being

years. “We were not photography

was a pervasive influence.”

Metro

described a typical movie star

happy with being single.” With

collectors, but we saw something

A shelf in her studio. Credit

from the photos as a woman

her pictures of women her own

there that went well beyond

Clement Pascal for The New

self-

age, Ms. Sherman seems to have

photography,”

York Times Ms. Sherman named

ever-changing

returned to a tenderness that

recalled. Artificial nails litter a

her Broad survey “The Imitation

Mr.

of

contempt

a

grammar

against

expresses

herself

“The

forming

hasn’t been seen in her work

desk. Credit Clement Pascal for

of Life,” after a 1959 melodrama

on,

for the last several decades. She

The New York TimesTaken as a

by the director Douglas Sirk. In

riffed

describes the images as “the

whole, the shifting identity that

the show’s catalog, Ms. Sherman

once

most sincere things that I’ve

runs across all 69 women in the

includes a conversation with the

youngest

as

inept.”

individual

“sadly

the artist said she can’t guarantee

today,

Holden

done — that aren’t full of irony,

“Film Stills” may also reflect

director Sofia Coppola in which

A

Stephen

or caricature, or cartooniness —

the real predicament of a single

she admits that she might even

on,

it

since the ‘Film Stills.’” It could

daughter

years

said

even be that her mature leading

person:

40

Sherman

ladies should be thought of as

trying to find her place in the

Ms.

the aspiring starlets of those

world, and then in an art world

Stills”

of

“Film

seen

after they’ve achieved success

that didn’t have an obvious role

she’s

and come out the other side.

Broad

Thanks to years of therapy, said

8

Untitled #213. 1989

9

10

Round 3 Cindy Sherman Spreads

2

Sherman's life began in 1954, in Glen Ridge, New Jersey, a suburb of New York City. Her family having moved shortly after her birth, Sherman grew up as the youngest of five children in the town of Huntington, Long Island. Unlike some budding artists, Sherman was not particularly 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

resentation of women in society, the media and the nature of the creation of art.

BY BLAKE GOPNIK

By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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 rep-

PHOTOGRAPH

Nov. 2017

UNTITLED

3

WORK OF CINDY SHERMAN

Untitled #153 1958

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

4

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

PHOTOGRAPH

“THEY LOOK LIKE

THEY’VE BEEN

THROUGH A LOT,

AND THEY’RE

SURVIVORS.”

Nov. 2017

5

Untitled, 2016

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

6

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

Cindy Sherman, Untitled Film Still #58, 1980 PHOTOGRAPH

“Believing in one’s own

art becomes harder

and harder when

the public response

grows fonder.�

Nov. 2017

7

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 clichés" 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 the year, 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 many times 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

8

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 closeup. 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.

Untitled #213. 1989

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 Trip-

PHOTOGRAPH

“A HYBRID OF

PHOTOGRPHY ART THAT

REVEALS FEMININITY

TO BE AN EFFECT OF

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

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.

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.

REPRESENTATION.” plehorn, 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 . 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

Nov. 2017

9

Round 1 Historical Photographer Spreads (3 Separate Ideas)

2

Work of Berenice Abbot PHOTOGRAPH

Documented

Joesph Lust

3

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.

Nov. 2017

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. 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

MANHATTAN BRIDGE LOOKING UP; November 11, 1936. Built 1909.

Chief engineer: C. M. Ingersoll

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. On day he did 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

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.

“I didn’t decide to be a photographer; I just happend to fall into it.”

4

PHOTOGRAPH

Nov. 2017

5

6

Frame House on Cherry Street

Hoboken Ferry Terminal, Barclay Street general view

PHOTOGRAPH

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 1500 glass plate negatives and 8000 original prints. Abbott feverishly fought to acquire the collection from Calmettes. It took over a year

Nov. 2017

Designer's Window, Bleecker Street general view

7

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

8

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.

PHOTOGRAPH

Photography doesn’t teach you to express your emotions; it teaches you how to see.”

Nov. 2017

9

Idea Number 2

Manhattan Bridge Looking up; November 11, 1936.

10

PHOTOGRAPH

Joesph Lust

11

Documented

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

playhouse and even played several minor roles. At some time during her life in Greenwich Village, Abbott became interested in sculpture.

Work of 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

Nov. 2017

12

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

“I didn’t decide to be a photographer; I just happend to fall into it.”

PHOTOGRAPH

Nov. 2017

13

14

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

PHOTOGRAPH

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

Nov. 2017

Hoboken Ferry Terminal, Barclay Street general view

15

16

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 Febru-

ary 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.

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

PHOTOGRAPH

17

Frame House on Cherry Street

Photography doesn’t teach you to express your emotions; it teaches you how to see.”

Nov. 2017

18

Joesph Lust

PHOTOGRAPH

Documented

Nov. 2017

Work of Berenice Abbot

19

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

“I didn’t decide to be a photographer; I just happend to fall into it.”

20

PHOTOGRAPH

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,

Nov. 2017

Frame House on Cherry Street

21

22

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

PHOTOGRAPH

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 Ab-

23

“Photography doesn’t teach you to express your emotions; it teaches you how to see.” surprisingly there were few working other photographers.

One afternoon Man Ray was expressing many other 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,

Nov. 2017

11

Round 4 Cindy Sherman Spreads

2

BY BLAKE GOPNIK

By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century.

Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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.

PHOTOGRAPH

Nov. 2017

UNTITLED

3

WORK OF CINDY SHERMAN

4

PHOTOGRAPH

Untitled #153 1958

“THEY LOOK LIKE

THEY’VE BEEN

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 clichés" with which to work. This series gave Sherman much publicity and

THROUGH A LOT,

AND THEY’RE

SURVIVORS.” By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not selfportraits. Rather, 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. 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

Nov. 2017

5

6

Untitled, 2016

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 the year, 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 many times 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

Cindy Sherman, Untitled Film Still #58, 1980

PHOTOGRAPH

“BELIEVING IN ONE’S OWN

ART BECOMES HARDER AND

HARDER WHEN

THE PUBLIC RESPONSE

GROWS FONDER.”

Nov. 2017

7

Untitled, 2016

8

Untitled #213. 1989

PHOTOGRAPH

“A HYBRID OF

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.

9

Untitled #152. 1985

PHOTOGRPHY ART THAT

REVEALS FEMININITY

TO BE AN EFFECT OF

1998 comedy Pecker . 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.

REPRESENTATION. in roles from archetypally famous paintings. conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone." 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'

Nov. 2017

12

Inclass Exercise

13

Round 2 Historical Photographer Spreads

(2 Separate Ideas)

2

Joesph Lust

PHOTOGRAPH

Documented Nov. 2017

Work of Berenice Abbot

3

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

MANHATTAN BRIDGE LOOKING UP; November 11, 1936. Built 1909.

Chief engineer: C. M. Ingersoll

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

and even played several minor roles. At some time during her life in Greenwich Village, Abbott became interested in sculpture.

“I didn’t decide to be a photographer; I just happend to fall into it.”

4

PHOTOGRAPH

Nov. 2017

5

6

Frame House on Cherry Street

Hoboken Ferry Terminal, Barclay Street general view

PHOTOGRAPH

were few working photographers. One day he did, however, suggest that I ought to take some myself; One afternoon Man Ray was expressing difficulties with finding he showed me how the camera worked and I soon began taking a good darkroom assistant. How some on my lunch break. I would about me? asked Abbott. Man Ray wanted someone without ask friends to come by and I’d take knowledge of photography, one he pictures of them. The first I took could shape and mold and Abbott came out well, which surprised me. I had no idea of becoming a needed a job. He agreed. And photographer, but the pictures so began Abbott’s photography kept coming out and most of them career. She was efficient and were good. Some were very good diligent, and soon found herself immensely enjoying the process. and I decided perhaps I could charge something for my work.

On her own, she began to work long hours to perfect her techniques. Man Ray did not teach Her artistic instinct with photographic imaging was natural. me photographic techniques.

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

Nov. 2017

Designer's Window, Bleecker Street general view

7

8

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

PHOTOGRAPH

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, as well as the Theater Guild Magazine and Fortune.

“Photography doesn’t teach you to express your emotions; it teaches you how to see.”

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 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.

Idea Number 2

10

Joesph Lust

PHOTOGRAPH

Documented

Nov. 2017

Work of Berenice Abbot

11

12

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

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

roles. At some time during her life in Greenwich Village, Abbott became interested in sculpture.

“I didn’t decide to be a photographer; I just happend to fall into it.”

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

PHOTOGRAPH

Nov. 2017

13

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

“I didn’t decide to be a photographer; I just happend to fall into it.”

14

PHOTOGRAPH

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

Nov. 2017

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

Frame House on Cherry Street

15

16

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 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.

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

PHOTOGRAPH

17

Frame House on Cherry Street

Photography doesn’t teach you to express your emotions; it teaches you how to see.”

Nov. 2017

3 Refined Cover Ideas

Celebrating inspiration and creativity

Featuring the work of Cindy Sherman Insight into Berenice Abbot’s past work

Peek into Susan Sontag’s novel

Photogragh

Photogragh

Vol. 3, Spring 2017

Photogragh

Vol. 3, Spring 2017

Cindy Sherman

Berenice Abbot

Susan Sontag

14

Ref lection on Susan Sontag The exceprt from On Photography by Susan Sontag is very intresting becuase it goes in depth for the reasoning and purpose behind photograpghy. She talks about the role photograpghy has played on the world around us and how photgraghy has grown in the artist industry. I never looked to much into photograghy becuase I had always seen it as a way to recoard a moment that you would like to relive. After reading this artcle I learned that is one way to look at photography, but their is an ifinat amount of others ways to look at photography. For example Sontage does talk about how photograpghy is used to record an event, but she also explains how photograpghy is used as evidence, art, and history. When creating my artcles I created a few call outs. One of these call out includes, “But being educated by photographs is not like being educated by older, more artisanal images�. I chose this sentnce as one of my callouts becuase Sontag makes a very strong point that many people do not think about when they look at photographs. Sontag is saying that the photograpghs from the cave times do not serve that same purpose that photos do today. Which is very true, many phots that are taken today, do not soley serve the pupose to record.

Instead many photos that educate us today are more thought provoking.

3 Ideas for Susan Sontag Spreads

2

On Photography An Excerpt Plato’s Cave Susan Sontag

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.

PHOTOGRAPH

But being educated by photographs is not like being educated by older, more artisanal images.

Nov. 2017

3

4

and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

For many decades the book has been the most influential way of arranging (and usually miniaturizing)images, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of images into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served in books.

To collect photographs is to collect the world.

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe.

Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

To photograph is to appropriate the thing photographed.

It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.

Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable,

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are

PHOTOGRAPH

Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are

a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry.

In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which

technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into differnt kinds of images.

That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Nov. 2017

5

Idea Number 2

6

On Photography An Excerpt Plato’s Cave

To collect photographs is to collect the world.

To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.

Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

Nov. 2017

Photographs, which package the world, seem to invite packaging.

PHOTOGRAPH

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.

Susan Sontag

7

8

But being educated by photographs is not like being educated by older, more artisanal images.

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth.

Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.

Nov. 2017

That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.

There is an aggression implicit in every use of the camera.

PHOTOGRAPH

9

Idea Number 3

10

On Photography

to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the

An Excerpt Plato’s Cave

Susan Sontag

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth.

But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world.

In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store.

In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is

PHOTOGRAPH

order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact.

But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture.

Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth.

Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, pro-

miscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures.

The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Nov. 2017

11

Round 3 Historical Photographer Spreads

2

Joesph Lust

PHOTOGRAPH

Documented

Spring 2017

Work of Berenice Abbot

3

MANHATTAN BRIDGE LOOKING UP; November 11, 1936. Built 1909.

Chief engineer: C. M. Ingersoll

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.

“I didn’t decide to be a photographer; I just happend to fall into it.”

4

PHOTOGRAPH

Spring 2017

5

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.

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

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

6

PHOTOGRAPH

7

Frame House on Cherry Street

Photography doesn’t teach you to express your emotions; it teaches you how to see.”

Spring 2017

8

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

PHOTOGRAPH

9

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, as well as the Theater Guild Magazine and Fortune.

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.

“Photography doesn’t teach you to express your emotions; it teaches you how to see.”

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 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

Spring 2017

Round 5 Cindy Sherman Spreads

2

BY BLAKE GOPNIK

By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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.

PHOTOGRAPH

Nov. 2017

UNTITLED

3

WORK OF CINDY SHERMAN

4

PHOTOGRAPH

Untitled #153 1958

“THEY LOOK LIKE

THEY’VE BEEN

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

THROUGH A LOT,

AND THEY’RE

SURVIVORS.” By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits.

Rather, 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. 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

Spring 2017

5

6

Untitled, 2016

she "ran out of clichés" 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 the year, 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 many times 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

Cindy Sherman, Untitled Film Still #58, 1980

PHOTOGRAPH

“BELIEVING IN ONE’S OWN

ART BECOMES HARDER AND

HARDER WHEN

THE PUBLIC RESPONSE

GROWS FONDER.”

Nov. 2017

7

Untitled, 2016

8

Untitled #213. 1989

PHOTOGRAPH

“A HYBRID OF

9

Untitled #152. 1985

PHOTOGRPHY ART THAT

REVEALS FEMININITY

TO BE AN EFFECT OF

Spring 2017

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. These projects continue in NYC.

REPRESENTATION. Sherman again uses herself as model, though this time she casts herself in roles from archetypally famous paintings. conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone."

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 . 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

Revised Magazine Covers

2 Ideas

Insight in Berenice Abbot’s iconic work from the past.

Including an exceprt from Susan Sontag’s novel, On Photography.

Vol. 3, Spring 2017

Photogragh

Freaturing the artist and photograpgher: Cindy Sherman

Photogragh

Freaturing the artist and photograpgher: Cindy Sherman

Insight in Berenice Abbot’s iconic work from the past.

Including an exceprt from Susan Sontag’s novel, On Photography.

Vol. 3, Spring 2017

15

Final Magazine Spread

22

“aperture” was designed by Sophia Schippers for Typographic Systems, 2017. All of the images and text were sourced from publications and the interent and are only being used for design education purposes. Fonts: Archer, Helvetica, Times, Futura, and Gill Sans. Printed a Jayhawk Ink, Lawrence KS.

PHOTOGRAPH

Exlusive Interview with Cindy Sherman

Insight in Berenice Abbot’s iconic work

Insight on Susan Sontag’s book, On Photogrphy

Vol. 3, Spring 2017

aperture

Spring 2017 23

Final Historical Photographer Spread

2

Joesph Lust

PHOTOGRAPH

Work of Berenice Abbot

Spring 2017

Documented

3

Village, Abbott became interested in art of sculpture.

MANHATTAN BRIDGE LOOKING UP; November 11, 1936. Built 1909. Chief engineer: C. M. Ingersoll

played several minor roles. At some time during her life in Greenwich

dyer. During her time off she volunteered at the playhouse and even

blizzards. Abbott worked several jobs such as a waitress and a yarn

train fare. In 1918 Abbott arrived in the midst of one of New York’s

house. Jenkins encouraged Abbott to come and loaned her the $20

to Jimmy Light, a young director of the Famous Provincetown Play-

soon left the university to move to New York where she was engaged

Sue Jenkins and became disgusted with the university system. Jenkins

sity to study journalism. Within a two-week period Abbott befriended

In 1917, Abbott quickly left home and enrolled at Ohio State Univer-

“I didn’t decide to be a photographer; I just happend to fall into it.”

4

PHOTOGRAPH

Spring 2017

5

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 alot 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.

Daily News Building, 220 East 42nd Street, Manhattan

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.

6

PHOTOGRAPH

“Photography doesn’t teach you to express your emotions; it teaches you how to see.”

Spring 2017

Frame House on Cherry Street

7

8

PHOTOGRAPH

9

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, as well as the Theater Guild Magazine and Fortune.

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.

“Photography doesn’t teach you to express your emotions; it teaches you how to see.”

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 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

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

Spring 2017

Final Cindy Sherman Spread

10

BY BLAKE GOPNIK

By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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 art.

PHOTOGRAPH

UNTITLED

Spring 2017

WORK OF CINDY SHERMAN

11

12

PHOTOGRAPH

“THEY LOOK LIKE

THEY’VE BEEN

Spring 2017

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 clichés" 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

THROUGH A LOT, AND THEY’RE

and important questions about the role and representation of women in society, the media and the nature of the creation of art. 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

SURVIVORS.” By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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

Untitled #153 1958

13

Untitled, 2016

14

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 the year, 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 many times 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. conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone." Sherman's life

Untitled Film Still #58, 1980

PHOTOGRAPH

PHOTOGRAPH

“BELIEVING IN ONE’S OWN

ART BECOMES HARDER AND

HARDER WHEN

THE PUBLIC RESPONSE

GROWS FONDER.”

Spring 2017

15

Untitled, 2016

16

Untitled #213. 1989

PHOTOGRAPH

“A HYBRID OF

as model. At a recent show at her New York gallery, Metro Pictures, Sherman displayed a series of portraitlike 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.

17

Untitled #152. 1985

PHOTOGRPHY ART THAT

REVEALS FEMININITY

TO BE AN EFFECT OF

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

REPRESENTATION.� 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 . Because Sherman achieved international success at a relatively young age, her work

Spring 2017

Final Susan Sontag Spreads

18

On Photography AN EXCERPT PLATO’S CAVE

Susan Sontag

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads—as an anthology of images.

PHOTOGRAPH

“But being educated by photographs is not like being educated by older, more artisanal images.”

Spring 2017

19

PHOTOGRAPH

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

To photograph is to appropriate the thing photographed.

It means putting oneself into a certain relation to the world that feels like knowledge – and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced.

Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

For many decades the book has been the most influential way of arranging (and usually miniaturizing)images, thereby guaranteeing them longevity, if not immortality—photographs are fragile objects, easily torn or mislaid—and a wider public.

The photograph in a book is, obviously, the image of an. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of images into general circu-

“To collect photographs is to collect the world.”

“Photography furnish evidence.”

20

“Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are.”

lation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistw) of the individual photographer, a photograph— any photograph—seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as travel souvenirs of daily life. While a painting or a prose description can never be other parts than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually other shady commerce between art and truth. Even when photographers are most concerned with the mirroring of reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the FSA photographic project of the late 1930s (among the FSA are Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film—the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look,

in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity—and ubiquity—of the photographic record is photography's "message," its main aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the captureing of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into differnt kinds of images.

That age when taking photographs required a cumbersome and expensive contraption—the toy of the clever, the wealthy, and the obsessed—seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Spring 2017

21

16

Final Order Spreads Version

22

“aperture” was designed by Sophia Schippers for Typographic Systems, 2017. All of the images and text were sourced from publications and the interent and are only being used for design education purposes. Fonts: Archer, Helvetica, Times, Futura, and Gill Sans. Printed a Jayhawk Ink, Lawrence KS.

PHOTOGRAPH

Exlusive Interview with Cindy Sherman

Insight in Berenice Abbot’s iconic work

Insight on Susan Sontag’s book, On Photogrphy

Vol. 3, Spring 2017

aperture

Spring 2017 23

10

BY BLAKE GOPNIK

By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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 art.

PHOTOGRAPH

UNTITLED

Spring 2017

WORK OF CINDY SHERMAN

11

12

PHOTOGRAPH

“THEY LOOK LIKE

THEY’VE BEEN

Spring 2017

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 clichés" 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

THROUGH A LOT, AND THEY’RE

and important questions about the role and representation of women in society, the media and the nature of the creation of art. 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

SURVIVORS.” By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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

Untitled #153 1958

13

Untitled, 2016

14

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 the year, 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 many times 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. conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone." Sherman's life

Untitled Film Still #58, 1980

PHOTOGRAPH

PHOTOGRAPH

“BELIEVING IN ONE’S OWN

ART BECOMES HARDER AND

HARDER WHEN

THE PUBLIC RESPONSE

GROWS FONDER.”

Spring 2017

15

Untitled, 2016

16

Untitled #213. 1989

PHOTOGRAPH

“A HYBRID OF

as model. At a recent show at her New York gallery, Metro Pictures, Sherman displayed a series of portraitlike 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.

17

Untitled #152. 1985

PHOTOGRPHY ART THAT

REVEALS FEMININITY

TO BE AN EFFECT OF

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

REPRESENTATION.� 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 . Because Sherman achieved international success at a relatively young age, her work

Spring 2017

18

On Photography AN EXCERPT PLATO’S CAVE

Susan Sontag

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads—as an anthology of images.

PHOTOGRAPH

“But being educated by photographs is not like being educated by older, more artisanal images.”

Spring 2017

19

PHOTOGRAPH

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

To photograph is to appropriate the thing photographed.

It means putting oneself into a certain relation to the world that feels like knowledge – and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced.

Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

For many decades the book has been the most influential way of arranging (and usually miniaturizing)images, thereby guaranteeing them longevity, if not immortality—photographs are fragile objects, easily torn or mislaid—and a wider public.

The photograph in a book is, obviously, the image of an. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of images into general circu-

“To collect photographs is to collect the world.”

“Photography furnish evidence.”

20

“Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are.”

lation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistw) of the individual photographer, a photograph— any photograph—seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as travel souvenirs of daily life. While a painting or a prose description can never be other parts than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually other shady commerce between art and truth. Even when photographers are most concerned with the mirroring of reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the FSA photographic project of the late 1930s (among the FSA are Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film—the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look,

in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity—and ubiquity—of the photographic record is photography's "message," its main aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the captureing of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into differnt kinds of images.

That age when taking photographs required a cumbersome and expensive contraption—the toy of the clever, the wealthy, and the obsessed—seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Spring 2017

21

2

Joesph Lust

PHOTOGRAPH

Work of Berenice Abbot

Spring 2017

Documented

3

Village, Abbott became interested in art of sculpture.

MANHATTAN BRIDGE LOOKING UP; November 11, 1936. Built 1909. Chief engineer: C. M. Ingersoll

played several minor roles. At some time during her life in Greenwich

dyer. During her time off she volunteered at the playhouse and even

blizzards. Abbott worked several jobs such as a waitress and a yarn

train fare. In 1918 Abbott arrived in the midst of one of New York’s

house. Jenkins encouraged Abbott to come and loaned her the $20

to Jimmy Light, a young director of the Famous Provincetown Play-

soon left the university to move to New York where she was engaged

Sue Jenkins and became disgusted with the university system. Jenkins

sity to study journalism. Within a two-week period Abbott befriended

In 1917, Abbott quickly left home and enrolled at Ohio State Univer-

“I didn’t decide to be a photographer; I just happend to fall into it.”

4

PHOTOGRAPH

Spring 2017

5

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 alot 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.

Daily News Building, 220 East 42nd Street, Manhattan

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.

6

PHOTOGRAPH

“Photography doesn’t teach you to express your emotions; it teaches you how to see.”

Spring 2017

Frame House on Cherry Street

7

8

PHOTOGRAPH

9

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, as well as the Theater Guild Magazine and Fortune.

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.

“Photography doesn’t teach you to express your emotions; it teaches you how to see.”

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 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

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

Spring 2017

Final Order Pages Version

Exlusive Interview with Cindy Sherman

Insight in Berenice Abbot’s iconic work

Insight on Susan Sontag’s book, On Photogrphy

aperture

Vol. 3, Spring 2017

Spring 2017

1

Joesph Lust

2

PHOTOGRAPH

Spring 2017

3

Work of Berenice Abbot

Documented

MANHATTAN BRIDGE LOOKING UP; November 11, 1936. Built 1909. Chief engineer: C. M. Ingersoll

“I didn’t decide to be a photographer; I just happend to fall into it.”

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 art of sculpture.

4

PHOTOGRAPH

Spring 2017

5

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 alot 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.

Daily News Building, 220 East 42nd Street, Manhattan

6

PHOTOGRAPH

Frame House on Cherry Street

“Photography doesn’t teach you to express your emotions; it teaches you how to see.”

Spring 2017

7

8

PHOTOGRAPH

“Photography doesn’t teach you to express your emotions; it teaches you how to see.”

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 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, as well as the Theater Guild Magazine and Fortune.

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

Spring 2017

9

BY BLAKE GOPNIK

By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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 art.

10

PHOTOGRAPH

Spring 2017

11

WORK OF CINDY SHERMAN

UNTITLED

12

PHOTOGRAPH

“THEY LOOK LIKE THEY’VE BEEN THROUGH A LOT, AND THEY’RE SURVIVORS.” By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, 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

Untitled #153 1958

and important questions about the role and representation of women in society, the media and the nature of the creation of art. 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 clichés" 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

Spring 2017

13

Untitled, 2016

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 the year, 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 many times 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. conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone." Sherman's life

Untitled Film Still #58, 1980 14

PHOTOGRAPH

PHOTOGRAPH

“BELIEVING IN ONE’S OWN ART BECOMES HARDER AND HARDER WHEN THE PUBLIC RESPONSE GROWS FONDER.”

Spring 2017

15

Untitled, 2016

16

Untitled #213. 1989

PHOTOGRAPH

“A HYBRID OF Untitled #152. 1985

PHOTOGRPHY ART THAT REVEALS FEMININITY TO BE AN EFFECT OF REPRESENTATION.� 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 . 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 portraitlike 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.

Spring 2017

17

On Photography AN EXCERPT PLATO’S CAVE

Susan Sontag

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads—as an anthology of images.

18

PHOTOGRAPH

“But being educated by photographs is not like being educated by older, more artisanal images.�

Spring 2017

19

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

To photograph is to appropriate the thing photographed.

It means putting oneself into a certain relation to the world that feels like knowledge – and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced.

Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

For many decades the book has been the most influential way of arranging (and usually miniaturizing)images, thereby guaranteeing them longevity, if not immortality—photographs are fragile objects, easily torn or mislaid—and a wider public.

The photograph in a book is, obviously, the image of an. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of images into general circu-

“To collect photographs is to collect the world.”

“Photography furnish evidence.”

20

PHOTOGRAPH

lation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistw) of the individual photographer, a photograph— any photograph—seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as travel souvenirs of daily life. While a painting or a prose description can never be other parts than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually other shady commerce between art and truth. Even when photographers are most concerned with the mirroring of reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the FSA photographic project of the late 1930s (among the FSA are Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film—the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look,

“Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are.”

in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity—and ubiquity—of the photographic record is photography's "message," its main aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the captureing of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into differnt kinds of images.

That age when taking photographs required a cumbersome and expensive contraption—the toy of the clever, the wealthy, and the obsessed—seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Spring 2017

21

“aperture� was designed by Sophia Schippers for Typographic Systems, 2017. All of the images and text were sourced from publications and the interent and are only being used for design education purposes. Fonts: Archer, Helvetica, Times, Futura, and Gill Sans. Printed a Jayhawk Ink, Lawrence KS.

22

PHOTOGRAPH

Project Overview The magazine project started off a bit rough for me because I had no past experience on working with magazine spreads. I struggled a lot in the beginning. I need to push my creativity and knowledge. This lead me to go through a series of rounds to get my first spread, the Cindy Sherman spread, where I wanted it. This first spread was the toughest for me, however, after breaking through my creative barriers and building my knowledge the historical photographer spread came to be a bit easer to start at a stronger beginning point. When I say a stronger beginning point, I mean I still had a lot to change, but my spreads were better because I had a head start to make them stronger. The Susan Sontag article ended up being one of my favorites because this is that last spread I made. Since it was the last spread I made, I had practice from both my Cindy Sherman spreads, and my historical photographer spreads. My knowledge had also grown a mass amount over the coarse of this project.

The magazine project ended up being one of my favorites because I could see myself grow through out the project. Making it so much more exciting to see a visual change in my design making skills. It motivated me and reminded me to keep pushing myself because the end results are so worth the long hours and hard work. Typography and Design continue to surprise me everyday by the amount of knowledge their is to me learned, and the never ending change that forces you to grow in the field of work.