Comparison Of Photography : Cindy Sherman And Ansel Adams '

Julie Heffernan was born in 1956. She was raised in Northern California but resides in Brooklyn, New York today. She received a BFA from the University of California, Santa Cruz and incredibly, her Masters of Fine Art in Painting from the Yale School of Art. A significant moment that contributes to her talent as an artist was in 1986 where she lived in Berlin for two years, studying and practicing constantly during her stay. Her process for creating a new

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

Georgia O’Keeffe was born to the parents of Francis Calyxtus O’Keeffe and Ida (Totto) O’Keeffe on November 15, 1887 near Wisconsin. Georgia was the second oldest child and by the age of ten she knew she wanted to become an artist someday. Her first aspiration was doing abstracts. She was selective about what she painted, but often times she would paint to please others and not herself. Her paintings were thought of as sexual paintings because of the way they were drawn and painted in which she would say is one’s own opinion. Georgia O’Keeffe was best known for her flower canvas and southwestern landscapes. Her husband who is a famous photographer by the name of Alfred Stieglitz used to paint nice portraits of her. She was very fond of him, they both liked what each other did as far as how they were making ends meet, and he just didn’t want her to sell any of her paintings. He would often times tell people “No” so they wouldn’t buy any of her paintings because he wanted them all to himself. She had an interest in nature and used bright colors in her paintings.

Andy Warhol and Robert Rauschenberg made a huge impact on creating the pop culture of the arts. They introduced a new idea to the world that became immensely loved and favored. Both of these pop culture artists used everyday items to create a unique style of art. They shared techniques

Cindy Sherman, well known for her photography of her representing issues that commonly represent both the roles of being an artist, being a woman and the two combined. Sherman grew up in a large family that did not have any interest in art. Her knowledge of art growing up was very minimal until she went to college. She, then, started to paint. She quickly realized she did not like painting because of the lack of intimacy or recreation of a particular setting. She did, however love photography and started pursued an interest in that.

Both of the photographers are concerned with questions about our collective responsibility in shaping the environments we live in, which reflects in their work. Although they have similar thoughts and ideas, How do they both create a unique style and maintain relevance, status and professionalism in their genre?

His work is quite similar to American artist Cindy Sherman. He was one of the first international artists to fully use digital photography in the 1980's and has developed a sophisticated craft combining this technology with painstaking makeup, backdrops, and costumes.

Terror and mockery come together in the portraits of Cindy Sherman on display at the Crocker Art Museum. Walking into the large, dimly lit ballroom, one may begin to feel a slight sense of trepidation as the viewer looks around to find nine sets of beady eyes watching one’s every move. Sherman produced her History Portraits during the late eighties and early nineties, nine of which are displayed at the museum. In her portraits she uses lush fabrics, lavish jewelry, and false body parts to decorate herself in these self-portraits. Her portraits have been know to cause discomfort in the viewers who find the general stereotypes, depicted in her portraits, amusing, yet confusing and terrorizing.

Mary Cassatt is known world-wide for her impressing art in which she focuses mainly in the everyday life of women and children. She is an American artist born in Pennsylvania on May 22, 1844, but later relocates to Europe in 1866 to pursue to work in art. This was mainly due to her family’s and society’s objections to women in the field of art. There she met and befriended famous Impressionist Edgar Degas. Because of her close friendship with Degas, she grew courage to continue to do art in her own way. She continued to paint until she slowly began to lose her eyesight and later died in 1926. Cassatt was part of the Impressionist style movement, in which she painted portraits unlike many others who painted landscapes (biography.com). Her artwork

The similarities between Rembrandt van Rijn and Cindy Sherman is that they both are passionate artist. They see life their own way. They both use self-portraits to document their life. Other similar is that they both used physical appearance to express what was going on inside like their feelings and moods.

As Adams work came to the public eye, his skills and artistic visions were sought by many. Life magazine who gave photographers their

Joseph Nicephore Niepce and Anna Atkins these two people are fundamentally important in the history of photography. Niepce is known to the world for his accomplishes during his lifetime the same can be said for Atkins. Niepce was born on March 7, 1765, though died in 1833 and Atkins was born on March 16, 1799, yet died in 1871, it's clear at one point in time these two both lived at the same time. Niepce’s photograph View From His Window at Le Gras and Atkins Lycopodium Flagellatum (Algae), there are some similarities and some differences between these two, for they both lit a candle in the history of photography.

Cindy Sherman began her famous series of "Untitled Film Series" at the end of 1977. The small black and white photographs are of Sherman impersonating female character types from old B grade movies, which speak "to a generation of baby boomer women who had grown up absorbing these glamorous images ay home on their televisions, taking such portrayals as cues for their future" (Thames and Hudson 1). Upon graduation of college in 1977, Cindy Sherman and her fellow student Robert Longo moved to Manhattan, New York together. She continued with her interest in role-playing and dressing up as different characters, and began to photograph herself in these different guises among different locations such as her apartment Untitled Film Still #10, in the Southwest in Untitled Film Still #43, and in Long Island in Untitled Film Still # 9. Sherman's manipulation of lighting, makeup, and dress make it difficult to believe that all of the characters represented were indeed the same person (Heller 225). All of the portraits are of her but none of the works are in any way a self-portrait of

The photograph “Unknown #153” was taken by Cindy Sherman in 1954. The picture is of a Caucasian woman lying in the grass. She is not completely in the picture, because the parts of her body visible to the viewer is the area above the collarbone and her right shoulder. Her face, neck and clothes have handfuls of dirt on them. Her body is flat; she is faced up and her arms are down by her side. Her face is the center point of the photo yet; she is diagonally in the frame with her body placed in the bottom right corner of the picture. Her chest is diagonally shown not showing signs of her breast at all. The bare skin of her chest is barely visible because of how the woman is placed in the frame. Her hair is an odd silver color and looks sort of like a wig up close. Her hair also makes her look older but, the lack of wrinkle lines and softer features suggest she is a bit on the younger side. Her hair is short and stops at the bottom of her ears. The viewer can see half of her right ear but, the photo does not expose the opening. While on the other hand her left ear is completely covered by her hair. Her eyebrows are full and appear to have hints of the silver. Her eyes look dark from afar but up close, they appear to be blue. In her pupils a dot of sun in each eye is noticeable. She has a round shaped face and the stale expression makes her look as if she could be dead. She is looking towards the left of the frame. Her head is slightly tilted to the viewer’s left although her

Cindy Sherman’s, Untitled Film Stills from 1977 are a series of 69 total photographs that were comprised in order to appear as though they were actually taken from film reels. Sherman appears in every one of these shots, and finds a way to create a common thread throughout each of them despite the fact that the characters that she is portraying are vastly different from one another. She accomplishes this by using similar clothing, lighting, setting, and compositions as those that would be found in American B-movies from the 1950s and 1960s.