Abbott,
Berenice
Adams,
Ansel
Adams,
Robert
Alvarez Bravo
Arbus,
Diane
Atget,
Eugene
Bellocq,
E.J.
Blossfeldt,
Karl
Brandt,
Bill
Brassai
Callahan,
Harry
Cameron, Julia M.
Coburn, Alvin L.
Cunningham,Imogen
DeCarava,
Roy
Doisneau,
Robert
Eggleston,
William
Evans,
Walker
Friedlander,
Lee
Gutmann,
John
Hine,
Lewis
Kertesz,
Andre
Klein,
William
Koudelka,
Josef
Lange,
Dorothea
Lartigue,Jacques H.
Laughlin,Clarence J.
Levitt,
Helen
Mapplethorpe,Robert
Modotti,
Tina
Muybridge,Eadweard
Nadar,
Felix
O'Sullivan,
Timothy
Outerbridge,
Paul
Porter,Eliot
Riis,
Jacob
Rodchenko,Alexander
Salgado,Sebastio
Sherman,
Cindy
Smith,
W. Eugene
Sommer,
Frederick
Steichen,
Edward
Stieglitz,
Alfred
Strand,
Paul
Talbot,William H. Fox
Uelsmann,
Jerry
Weegee
Weston,
Edward
White,
Minor
Winogrand, Garry |
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Cindy
Sherman
Biography: in full - CYNTHIA MORRIS SHERMAN. American
photographer, known for her images--particularly her elaborately
"disguised" self-portraits--that comment on social role-playing
and sexual stereotypes.
Sherman grew up on Long Island, New York. In 1972 she enrolled
at the State University College at Buffalo and majored in painting,
later switching her major to photography. She graduated from the
State University College at Buffalo in 1976 and in 1977 began
work on Untitled Film Stills (1977-80), one of her best-known
series. The series of 8 10-inch black-and-white photographs featuring
Sherman herself in a variety of roles is reminiscent of film noir
and presents viewers with an ambiguous portrayal of women as sex
objects. Sherman stated that the series was "about the fakeness
of role-playing as well as contempt for the domineering 'male'
audience who would mistakenly read the images as sexy." She
continued to be the model in her photographs, donning wigs and
costumes to challenge cultural stereotypes.
During the 1980s Sherman began to use colour film, to exhibit
very large prints, and to concentrate more on lighting and facial
expression. Using prosthetic appendages and liberal amounts of
makeup, Sherman moved into the realm of the grotesque and the
sinister with photographs that featured mutilated bodies and reflected
such concerns as eating disorders, insanity, and death. Her work
became less ambiguous, focusing perhaps more on the results of
society's acceptance of stereotyped roles for women than upon
the roles themselves. During the 1990s Sherman returned to ironic
commentary upon clichéd female identities, introducing mannequins
to some of her photographs. In 1997 she directed the dark comedy
film Office Killer. She followed this in 1999 with an exhibition
of disturbing images of savaged dolls and doll parts that extended
her interest in juxtaposing violence and artificiality. (Encyclopedia
Britannica)
More on Cindy Sherman:
Cindy
Sherman - Her Masquerade
'Excellent site, Featuring Several of Sherman's Images.
NYU
Grey Art Gallery - Cindy Sherman
Wonderful Presentation of Sherman's work.
(click on Sherman at top of page to view work)
Tate
Gallery, London
Collection of Sherman's Images
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