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Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp focus and an emphasis on formal qualities. This approach rejected the artistic manipulations, soft focus, and painterly quality of Pictorialism, and made straight images of modern life.

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Page 1: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Henri Cartier-BressonBehind the Gare St Lazare, Paris, 1932

What was Modern?

From about 1915 avant-garde photographers began to produce works with a sharp focus and an emphasis on formal qualities.

This approach rejected the artistic manipulations, soft focus, and painterly quality of Pictorialism, and made straight images of modern life.

Page 2: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Henri Cartier-BressonBehind the Gare St Lazare, Paris, 1932

Laszlo Moholy-Nagy, From the radio tower 1928

Page 3: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Walker Evans, Allie Mae Burroughs, 1936Laszlo Moholy-Nagy, From the radio tower 1928

Page 4: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Walker Evans, Allie Mae Burroughs, 1936Diane Arbus, Mexican dwarf in hotel room, 1970

Page 5: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

POST MODERNISM

A late 20th-century style in the arts, architecture, and in art theory that is a departure from twentieth century modernism.

• a mixing of different artistic styles

• a self-conscious, ironical use of earlier art styles

• images relating to consumerism and mass communication of late 20th-century post-industrial society

Page 6: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

PASTICHE An art work made in a style that imitates the style of another work, artist, or period; an artistic work consisting of a medley of pieces taken from various sources.

APPROPRIATIONTaking something for one's own use: the art practice of reworking images from well-known paintings and photographs in one's own work.

Page 7: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Cindy Sherman, Untitled 1975

• CINDY SHERMAN

• Born in 1954, Cindy Sherman is counted among the most influential artists of the last half-century.

To create her images, she assumes the multiple roles of photographer, model, makeup artist, hairdresser, and stylist.

Page 8: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Lucille Ball c1945 “I was always the girl watching TV and doing something else”

Page 9: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Panel From Secret Hearts comic, 1962; Tony Abruzzo Illustrator

Like many Post-Modern artists, Cindy Sherman is inspired by the media images that saturate the modern world.

Images from television, magazines, movies, advertisements and comics.

Female media stereotypes were the subject of her work, and the work of other feminist-inspired artists like Madonna.

Page 10: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Roy Liechtenstein, “Hopeless” 1963

Page 11: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Cindy Sherman, Untitled #87, 1982

Page 12: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Cindy Sherman, Untitled #87, 1982

Page 13: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Cindy Sherman, Untitled #96, 1982

Page 14: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Cindy Sherman, Untitled #122 1983

Page 15: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Cindy Sherman, Untitled 1985

Page 16: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Cindy Sherman, Untitled #408 2002

Page 17: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

What does Cindy Sherman really look like?

Not one of her photographs of herself is a self portrait.

Other photographers have made portraits of her.

Timothy Greenfield-Sanders, Cindy Sherman, c1983

Page 18: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Abe Frajndlich, Cindy Sherman, 1987Timothy Greenfield-Sanders, Cindy Sherman, c1983

Page 19: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Robert Mapplethorpe, portrait of Cindy Sherman, c1985

Abe Frajndlich, Cindy Sherman, 1987

Page 20: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Robert Mapplethorpe, portrait of Cindy Sherman, c1985

Chuck Close, Cindy Sherman, c1995

Page 21: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Martin Schoeller, portrait of Cindy Sherman, 2000

Chuck Close, Cindy Sherman, c1995

Page 22: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Chuck Close, portrait of Cindy Sherman, 2006, Jacquard tapestry from original Daguerrotype

Martin Schoeller, portrait of Cindy Sherman, 2000

Page 23: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Chuck Close, portrait of Cindy Sherman, 2006, Jacquard tapestry from original Daguerrotype

David Hershkovits, Cindy Sherman, 2008

Page 24: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

David Hershkovits, Cindy Sherman, 2008

Cindy Sherman Vogue video

http://www.dorothybarenscott.com/2012/11/quick-compare-cindy-sherman-martha.html
Page 25: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

In Post-Modernism, there is a move away from exploration of individual identity, eg in the portrait or self-portrait.

Photographers like Cindy Sherman, Rafael Goldchain and Gillian Wearing broaden their work to encompass cultural identity: race, gender, sexuality, family, religion etc.

Page 26: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gillian Wearing, Self Portrait, 2000

Gillian Wearing is a UK artist

Wearing employs makeup, props, and lighting to disguise herself in the visage of several of her relatives captured in old snapshots. – Guggenheim Museum

Page 27: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp
Page 28: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gillian Wearing, Self Portrait at Three Years Old, 2004

Gillian Wearing, Self Portrait at 17 Years Old, 2004

Page 29: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gillian Wearing, Self Portrait at 17 Years Old, 2004

Gillian Wearing, Self Portrait as my Mother Jean, 2003

Page 30: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gillian Wearing, Self Portrait as my Mother Jean, 2003

Gillian Wearing, Self Portrait as my Father Brian, 2003

Page 31: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

GREGORY CREWDSON

Gregory Crewdson works within a photographic tradition that combines the documentary style of William Eggleston with the dream-like vision of filmmakers such as Stephen Spielberg and David Lynch.

Crewdson’s method is filmic, building elaborate sets to take pictures of extraordinary detail and narrative content.

Page 32: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gregory Crewdson, Untitled 2001, from Twilight series

Page 33: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gregory Crewdson, Untitled 2001, from Twilight series

Page 34: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gregory Crewdson, Untitled 2001, from Twilight series

Page 35: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gregory Crewdson, Untitled 2001, from Twilight series

Page 36: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

‘Despite being heavily influenced by Alfred Hitchcock, David Lynch, and Steven Spielberg's films, Crewdsons' photographs do not provide a continuous narrative in the same way that films do. Instead, Crewdson seeks to create the most mysterious and captivating images that can stand independently’

www.scrippscollege.edu/williamson-gallery/gregory-crewdson-collection.php

Page 37: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gregory Crewdson on the set

Page 38: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gregory Crewdson on the set

Page 39: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Jeff Wall

The Flooded Grave, 1999

Page 40: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp
Page 41: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

The event or theme of The Flooded Grave is a moment in a cemetry. The viewer might imagine a walk on a rainy day; he or she stops before the flooded hole and gazes into it, and for some reason imagines the ocean bottom. We see the instant of that fantasy, and in another instant it will be gone.

Jeff Wall

Page 42: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp
Page 43: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp
Page 44: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Shooting exteriors, Cemetry 1

Page 45: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Digging Hole, Cemetry 2

Page 46: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Studying a Polaroid

Page 47: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Adjusting water depth

Page 48: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Casting hole in plaster, cemetry 2

Page 49: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Positioning moulds in tank

Page 50: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Extracting rocks from seabed

Page 51: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Assembling the rock structure

Page 52: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Finishing set details

Page 53: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

View of studio during erection of lighting tent

Page 54: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Creating the set

Page 55: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Giant Pacific Octopus in the holding tank

Page 56: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Wrangling fish during shooting

Page 57: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Looking at a transparency on set

Page 58: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

During shooting

Page 59: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp
Page 60: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Meryl Streep, 1981

Annie Liebovitz is one of the leading portrait photographers in the world.

Her portraits of actors, artists and politicians often plays with the idea of disguise and performance.

The individual identity of the subject is often concealed behind a playful reference to their role as performers.

Page 61: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Demi Moore, 1992

Her work is highly conceptual, requiring much planning and preparation of makeup, costume, sets and locations.

Page 62: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Queen Latifah for Disney Parks

Page 63: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Queen Latifah for Disney Parks

Page 64: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Queen Latifah for Disney Parks

Page 65: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Queen Latifah for Disney Parks

Page 66: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Sopranos publicity, 2007

Page 67: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Sopranos publicity, 2007

Page 68: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Gustav Doré, Crossing the River Styx, from Danté’s Inferno, 1861

Page 69: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Annie Liebovitz, Sopranos publicity, 2007

Page 70: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Leonardo da Vinci, The Last Supper, 1490s

Page 71: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

John Gollings

Melbourne photographer John Gollings specializes in architectural photography.

Compared to the ideals of modernist architectural photography, his work is ‘impure’, using baroque effects of lighting and colour, multiple exposure, performance, and digital trickery.

John Gollings, Bolte Bridge, 1998

Page 72: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

Ezra Stoller, Seagram Building 1958

Page 73: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

John Gollings, Beijing Tennis Centre, 2007

Page 74: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

John Gollings, National Museum, Canberra

Page 75: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

John Gollings

Page 76: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

John Gollings, Melbourne Observatory Café, 1999

Page 77: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

John Gollings, Jackson Farm House, 1982

Page 78: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

John Gollings, Jackson Farm House, 1982

Page 79: Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 What was Modern? From about 1915 avant-garde photographers began to produce works with a sharp

John Gollings, Freedom Club, Keysborough, 1999


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