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| Used an 8x10 film camera. Scanned the negatives and then printed them digitally using a Light Jet Printer. |
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| Anthony Aziz and Sammy Cucher |
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Had an exhibition called "Dystopia" |
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| Anthony Aziz and Sammy Cucher |
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| Anthony Aziz and Sammy Cucher |
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| Anthony Aziz and Sammy Cucher |
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| Anthony Aziz and Sammy Cucher |
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He created recreations of famous works. He also posed himself in the work. He was also always portrayed as a woman in his work. |
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| (Pg. 426) "An economist who never finished his Ph.D., [he] has photographed in more than sixty countries, focusing mainly on people who survive day to day: physical laboreres, refugees, victims of famines, and groups who migrate becasue of natural disasters or cvil unrest. |
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| (Pg. 405) "who noted that, because the computer has become 'a sophisticated technological prosthesis we cannot do without', it was not surprising that artists would use it as an accessory to their work, like a filter or a telephoto lens. [He] pointed out that previous technological improvements did not fundamentally alter the medium, and that 'the metamorphosis from silver grains to pixels is not itself significant.' After all, he cautioned, 'the silver-grained structure of actual photographs has already been replaced in the print media by the photomechanical dot.' Moreover, he reasoned, from its inception, all photography has been 'altered' in the sense that the camera frames and focuses on a chosen subject, thus eliminated other topics. Manipulation, he argued, 'is exempt of moral value.' What should be judged is the intent of the manipulation, not the process itself. |
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| She used to shoot for Rolling Stone and the New York Times. |
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| She went to London and photographed the Methadone Clinics |
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| Magnum picked her up, but she left after a while and went and opened her own studio, that is still active, in NYC. |
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| (Pg. 420) "Cocaine True, Cocaine Blue (1994), a controversial collection of pictures and intimate personal stories about drug use, brought viewers into a world of day-to-day self-deception and ruin. |
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| (Pg. 421) "combines history, social science, and photography in her work, emerged as one of the amin photographers of the protracted small-scale wars that characterized the last decades of the twentieth century. Her books Nicuragua (1981) and the much larger Kurdistan (1997) contain not only photographs but also substantial data, orchestrated by [her]. |
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Several of his large prints have sold for $1 million.
(Prada #1 was the first to sell for $1million)
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| She was an African American that took pictures dealing with the difficulties that African American women were facing at that time. |
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| American photographer ___________ appended words to her neutral photographs, yet the resulting combinations are puzzling. The faces of the African-Americans in these life-size or over-life-size photographs are deliberately cropped, and their individuality is disquised by plain backgrounds and simple clothing. [She] uses standardized observational techniques, such as fixed distance, to disguise the differences among her subjects, which can only be observed by carefully looking beyond the visual structures that suggest sameness. |
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| [image]first print to sell for $1 million |
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| He used "action figures" to display images that looked like historical events. He work in series of images (Hitler Moves East, Wild West, American Beauties, Desire, Mein Kampf) |
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| She was very good at marketing her own images. She self-published a book and then donated copies to libraries. |
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| All of her work is out of focus. |
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| (Pg. 446) Blur also found a place in staged photographs. While they were students at Yale University, _____________ and Garry Trudeau, the cartoonist who draws the political comic strip Doonesbury, collaborated on a book called Hitler Moves East: a Graphic Chronicle, 1941-43. Levinthal leads viewers to believe that they are looking at old, blurred action shots of World War II taken by an intrepid photojournalist. In fact, he fabricated table-top scenes with toy soldiers and then obscured the resulting photograph sufficiently so that its miniature source was not immediately apparent. Viewers fill in missing visual information from their memories of war portrayed in photojournalism and film. |
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| He used negative to positive color paper. Photograms of animal guts and flowers. |
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Sandy Skoglund
James Casebere
Gregory Crewdson |
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| (Pg 452) "In a period of multiple convergences, one of the most fruitful for photographic practice was the hybridization of Conceptual art's interest in ideas, Postmodernism's investigation into visual and verbal signs, and the increased presence of installation art beginning in the late 1970s. The mixture was evident in the widespread practice sometimes referred to as the 'staged photograph.'" |
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| Made miniatures of interiors of buildings. |
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| Had elaborite set ups for photographs. He had people in his neighborhood helping him when he stared out. His set ups cost up to $1million dollars. He has a "film crew" for his shoots. |
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| Used dead bodies as pieces in his "sculptures" |
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