Coles Phillips 1911 Life Magazine Analysis

Every girl growing up always use to play dress up in clothes as a childhood past time for fun. Cindy Sherman used that passed time as a way to create art with photography and is known for her talent of this act and taking self-portraits of it. Her ideas come stereotypes of women throughout past and present society. These self-portraits are known to “confront and explore the representations of women in society.” (Jankauskas).

As masters of imagery, both Elizabeth Bishop and James Wright composed vivid poetry as a road map to a significant closing. Bishop and Wright often opted to dramatic gestures or statements at the closing of their poems rather than the predictable expected metaphor. Use of dramatization leaves the reader with complete understanding of the narrative’s key message. Replacing the metaphorical ending to rather be embedded in the deep imagery of their work.

toward them. Many playwrights, of both the 1940s and today, have figured out ways to draw

The characters Sherman portrays, lighting, clothing and expressions are cliché of what is present in cinema, so much that viewers of her work have told Sherman that they ‘remember the movie’ that the image is derived from, yet Sherman having no film in mind at all.[iv] Thus showing that her word has a pastiche of past cinematic genres, and how women are portrayed in cinema and photography and how Sherman has manipulated the ‘male gaze’ around her images so they become ironic and cliché.

Though the viewers focus first on the centered figures, it is easier to first analyze the surrounding settings to understand them. The stone wall foreground and the open fields of the background each embodies one of the girl’s thoughts. The back landscape is filled with warm, airy colors of blue and orange, as if it were under a bright sun. On the other hand, the foreground’s stone walls and concrete floor has dark, cold, shadowy, earthy colors that seem to appear as if under a stormy cloud. The sunny land suggests free, pure, spacious land previous to the industrialization. Yet, the darkened foreground due to the overcasting shadows resemble the currently dirty,

Wyeth's art has long been controversial. As a representational artist, Wyeth's paintings have sharply contrasted with the prevailing trend of abstraction that gained currency in American art in the middle of the 20th century. Museum exhibitionists of Wyeth's work have set attendance records, but many art critics have derided his paintings. The most common criticisms are that Wyeth's art verges on illustration, and that his predominantly rural subject matter is heavily weighted with sentiment. Admirers of Wyeth's art believe that his paintings, in addition to sometimes displaying overt beauty, contain strong emotional currents, symbolic content and underlying abstraction. Most observers of Wyeth's art agree that he is exceptionally skilled at handling the mediums of watercolor and egg tempera. Except for early

Postmodern American artist’s Cindy Sherman and Kara Walker critique and question grand narratives of gender, race and class through their work and art practice. Cindy Sherman, born 1954, is well renowned for her conceptual portraits of female characters and personas that question the representation of women, gender identity and the true (or untrue) nature of photography (Hattenstone 2011). Kara Walker, born 1969, is known for her black silhouettes that dance across gallery walls and most recently her sugar sphinx, A Subtlety, address America’s racist slavery past (Berry 2003). These practitioners differ in their practical application of different mediums, Sherman constructs characters and scenes of stereotypical female personas in her photographs where she operates as the actress, director, wardrobe assistant, set designer and cameraman (Machester 2001). Simone Hatenstone, writer for The Guardian, states “She 's a Hitchcock heroine, a busty Monroe, an abuse victim, a terrified centrefold, a corpse, a Caravaggio, a Botticelli, a mutilated hermaphrodite sex doll, a man in a balaclava, a surgically-enhanced Hamptons type, a cowgirl, a desperate clown, and we 've barely started.” (Hattenstone 2011).Whereas, Walker creates paper silhouettes that are installed into a gallery space, as writer Ian Berry describes,

| a celebration of the genius that enabled certain people to convey profound insights through art.

TXT- For his images, he searched various ways to alter scenes in a metaphoric aspect to create a mystical reality by messing around with subject matter and positioning of when to catch these specific moments. Pg 301

Firstly, Gareth Hinds communicates the emotions of the wordless scenes through the different arrangements of the drawings. Arrangements of the images conglomerates contrast, perspective and colors. First, the

When Jane describes the wallpaper, she is first repulsed by its color and the mere sight of it. Later, she describes that the sunlight reveals a “pointless pattern”

In her most famous photograph Untitled Film Still #21 she produced an expressionistic self-portrait by portraying as a small-town girl, supposedly lost in the “Big City”. The elements and principles, though lacking in visual colour, she makes it up by having other significant elements such as the lines of the windows and structures with the subject’s eyesight directing observers throughout the picture. There is very little negative space, in addition, the subject is placed near the lower right acting as the focal point creating an asymmetrical balance to expose the uncomfortable sense of being “misplaced”. Furthermore, the camera angle from a downwards view stresses how large the surrounding is and that she is merely lost. In consideration, the background simply highlights the atmosphere that is instilled within the audience helping viewers understand the ambience of the image. It genuinely is a narrow depth of field to clarify the expression of the subject she has chosen to represent, in which is being supported by the scenario of towering skyscrapers and not vice

Though this work is like many of Carver’s other works with dialog, average hippi, working class people only this one illustrates his own new forsight in how to write. Yet this work still leaves you hanging in the moment as with all his literature

In both Mark Twain’s “Two Ways of Seeing a River” and Charles Yale Harrison “In the Trenches,” the authors use elaborate imagery to enhance the reader’s perception of their autobiographical narratives. The descriptive language allows Twain to illustrate an image of the once lustrous river in the reader’s mind while it allows Harrison to immerse the reader in the gruesome reality of the trenches. Both authors effectively use sensory imagery to describe their surroundings; however, they use different approaches. Twain creates visual images in the reader’s mind whereas Harrison uses all the senses to augment the reader’s imagination.

Wilbur makes frequent use of imagery in “The Writer.”  He uses metaphors extensively – for instance, calling “the stuff / Of her life is … great cargo, … some of it heavy”.