History of Photo II: Final Quiz Flashcards

Question

Sally Mann

Answer 1

• Known for her beautifully crafted, large format, stylized, often staged, & controversial (because of nudity, sexual themes) portraits of adolescent girls and her own 3 children in their rural Lexington, VA home setting. • At Twelve: Portraits of Young Women, 1988. Immediate Family, 1992. Still Time, 1994. What Remains, 2003. • Recent work involves landscapes and images dealing with death and shot with 19th century equipment and collodion process.

Answer 2

``` • Living Room, 1991, a book of his medium format color images documenting his blue collar/working class neighbor families. ``` • Shot in an unpretentious, naturalistic, spontaneous, snapshot documentary style, they have a strong sense of family ties, affection, authenticity, and enthusiasm for life.

Answer 3

• Ray’s A Laugh, 1996, a book of candid, point-andshoot style documentary snapshots of his own blue collar dysfunctional family. Relentlessly honest, alternately depressing, poignant, affectionate, and humorous. • Now works primarily in video and landscape.

Answer 4

• Post-modern photographer who carefully stages and lights his images to create the illusion of mundane, candid snapshots, and who lights spontaneous street photographs to create the illusion of theatrical fictions. • His aim is to make us question our assumptions & preconceptions about what we see and the alleged truth of the photograph.

Answer 5

• Postmodernism can be seen as a continuation & extension of Conceptual Art & Pop Art. • It is an idea-based art that addresses issues of life in a mass media dominated world that is saturated with images, most of which are photographically based. • Can be seen as an analysis & critique of images in mass media, commercial/advertising, art history, film/TV, etc. • Many of the ideas are rooted in post WWII French philosophy & theories of linguistics, semiotics, structuralism, post-structuralism put forth by authors such as Lacan, Derrida, Lyotard, and others. • Postmodernism questions or attacks Modernist ideas of individual genius, authenticity, originality, & creativity at a time when it seems we’ve seen it all already. It also questions the Modernist idea of art somehow transcending or being aloof from the context of its own making.

Answer 6

• Uses appropriation, radical cropping, rephotography, etc., to deconstruct advertising images and reveal their strategies of manipulation, use of icons & stereotypes, etc. • One of his appropriated images set a controversial auction record for a photograph by a living artist when it sold for over $1.2M in 2005. • Copyright lawsuits over recent work have continued to raise questions of authorship, originality, fair use, etc.

Answer 7

• Rowland constructs collage reproductions of photos of iconic women, then re-photographs them projected onto herself. • Raises questions of personal & public identity, iconic role models, hero worship, authenticity and uniqueness.

Answer 8

• Blatant, largely unchanged appropriations of classic photos, paintings, etc., which push to their logical extreme questions of originality & emphasize loss of uniqueness through endless reproduction.

Answer 9

• Former RISD photo dept. head. • Makes books, videos, etc., using appropriated images with her own texts to give the images new, contemporary ironic meanings. • Subjects often deal with feminist, gender, identity, & adoption issues.

Answer 10

• Elaborate, witty, and satirical self-portrait remakes of iconic western images from art history, film, etc., which draw attention to issues of gender, race, east/ west stereotypes & cultural influences. • Published Daughter of Art History, 2003.

Answer 11

• Studied at School of Visual Arts w/ Arbus & at Parsons w/ Marvin Israel. • Worked at Condé Nast as graphic designer, art director, picture editor at Mademoiselle, House & Garden, & other fashion and society magazines. • Combines b&w appropriated images w/ bold text to create large-scale poster-like images that are visually reminiscent of Soviet Constructivist style propaganda posters. • Often presented as site-specific installations dealing with feminist, consumer, & political issues criticizing the media world in which she worked.

Answer 12

• Creates overtly theatrical, fictional tableaux of quasinarrative, TV soap opera-like scenes of family tension, strife & dysfunction. • Uses herself, twin sister, & other friends & family as actors. • Family Docu-Dramas, 1980s.

Answer 13

``` • Uses miniature figures, dolls, props, etc., as standins/ surrogates to construct still lifes dealing with suburban middle-class values & stereotypes. ``` • In and Around the House, 1983.

Answer 14

• One of the best known & most successful of the postmodernists, she uses costumes, props, masks, prostheses, mannequins, etc., to make conceptual self-portraits portraying a wide variety of female characters & situations. • Without taking a particular stand, her work comments on contemporary and historical female identity/stereotypes/archetypes. • Untitled Film Stills 1977-80, Untitled series 1981, Fashion Pictures 1983-84, all dealing primarily with various feminine stereotypes. • More recent work of the late 1980s-90s moves into areas of myth, horror, fairy tales, art history (History Portraits 1988-90) pornography, the grotesque, and exaggerated fashion makeovers. • Major MoMA retrospective, 2012.

Answer 15

• Conceptual artist who uses simple but stylized photos combined with deliberately oblique/ ambiguous text to raise issue of race, hidden prejudice, gender, & other issues relevant to African- American women. • 1st African-American woman solo show at MoMA, 1990.

Answer 16

• Uses custom-made miniature dolls, figures, props, etc., to create lush studio still lifes dealing with issues such as the conquest of the American west (Wild West, 1987-89), WWII, and the Holocaust (Mein Kampf, 1993-94). • Other series deal with eroticism, pornography, religion, sports, etc. • Often works in large format Polaroid.

Answer 17

• Starting out in photorealist pop & conceptual art, she moved into large scale photography and construction of elaborate, colorful, surrealistic studio sculptural installations. • The viewers’ initial reaction of humor and wonder often gives way to a more sinister and obsessive underlying tone. • Reality Under Siege, 1998.

Answer 18

• Pioneering example of the use of early 1980s digital techniques in conceptual art. • While working & teaching at MIT, she developed and used digital compositing & morphing techniques with appropriated images to create fictional “portraits” of non-existent people: archetypes/generics dealing with beauty, race, politics, war, and other themes. • Composites: Computer Generated Portraits, 1986.

History of Photo II: Final Quiz Flashcards

(42 cards)