Sherrie Levine

In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Yvonne Daniels, also known as the first lady of radio, is an influential women who paved the way for more women to become disc jockeys. In her 30 plus year career in radio she worked at WYNR, WCFL, WSDM, WLS-AM, WVON, WGCI-AM/FM , and WNUA. Daniels was an African American “broadcast pioneer”.

Born Gwendoline Nessie Foster on 8 June 1920 into a self-sufficient family that was full of music, philosophy, religion and language, Gwen had many early influences in her childhood that were clearly going to have an effect on her later life. Gwen's family had strong connections with music and it became a very important part of her life, causing her to aspire to become a musician. Gwen's grandmother introduced her to poetry and she began to write her own in the 1950's. Soon after, she learnt the German language to establish a wider reading of poetry and involve the language in her own works. Gwen married a linguist named William Harwood in 1945 and then moved around the Southern parts of Tasmania where she lived until her death in December

Phyllis Gonzalez served the community of Chelsea to the very best of ability for decades, whether it meant working as the president of a local PTA, a member of both the Hudson Guild's Advisory Council and Community Board 4, or as a secretary for the Citywide Council for Presidents of the New York City Housing Authority. Mrs. Gonzalez personally oversaw the growth of Chelsea’s project housing from the ground up, always finding room for improvement on the behalf of the residents under her care. She accomplished all this despite suffering from rheumatoid arthritis and congestive heart problems.

And just as Gutzon set out to build a great feat, so will this paper and its interpretation and story-telling of the past. The history behind this monument, the artistry that is and was displayed, and the basic skills of location, environment, and factors that influence geography will also be discussed here. This work by Gutzon was not just mere sensationalism or commercialism, as has normally been the angle of reporters, but instead this will take on the historic aspect as it was originally intended to bring out.

Helen Levitt was an incredibly influential street photographer starting in the late 1930’s and was active all the way until the 1990’s. She enjoyed much early success in her photography career photographing day-to-day happenings in the world around her, this set the stage for a long and very important career. Her photography can be described as objective because through her work she represented New York in a non bias way, photographing day to day happenings in her local life in Brooklyn, New York and the surrounding city such as children playing in the streets (Broken mirror), and adults going about their usual business gossiping, and simply their city life (Checkered Car). However, some may argue the point the Helen may have done an outstanding job at creating the illusion of objective work by photographing specific happenings around her world, and creating the illusion of a status quo. As seen in the photo Girl/Green Car all was not positive, uplifting, and graceful as many of her photos represent, the girl is seen

No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman's photography is part of the culture and

Photographs are re-collections of the past. This essay is about photography, memory, and history and addresses the relationship between photographic images and the need to remember; it is based on the notion that seeing is a prelude to historical knowledge and that understanding the past relies on the ability to imagine. At the same time, the role of thought and imagination in the production of society--as reflected in the earlier work of Louis Althusser (1970), Maurice Godelier (1984) and perhaps more significantly, Cornelis Castoriadis (1975), suggests yet another role for photography in the construction of a social and cultural reality. Photographs in capitalist societies contribute to the production of information and participate in the surveillance of the environment where their subjective and objective qualities are applied to the private uses of photographic images in the perpetuation of memory.

Innocence is a glorified trait in nearly any culture around the world. Many strive to keep the innocence they are born with, and plenty others spend a lifetime attempting to regain the innocence they have lost with age. In the following photos, innocence is a common theme, which each photographer approaches in a unique way. There is a dull and unsettling truth behind the innocent demonstration of young ladies acting much more mature than their age. Manuel Alvarez Bravo is one of the premier figures of modern photography and the main photographer among the immense Mexican artists of the twentieth century. In The Daughter of the Dancers, Bravo illustrates the idea of youthfulness on the verge of loosing its innocence. Sally Mann, a photographer from the 1980s-90s, caught a reflection of grown-up moves inside the innocence and youth of adolescents in Candy Cigarette through her utilization of organization, field point, and technique. In 1985 National Geographic photographer Steve McCurry went through Afghan towns concentrating on the evacuees and recording their hardships. The Afghan Girl is a classical image of lost innocence; the girl was forced to grow up way to fast. Her innocence did not survive, but she did.

Her portraits of people illustrate the world they live in, and where they seem to be going. One can memorize dates of significant events throughout history, but, unless one understands the feelings and thoughts of the people living during those times, one can't get the whole picture. Her method of journalism is to simply go somewhere and see what she can make of it. “When I went to San Francisco in that cold late spring of 1967 I did not even know what I wanted to find out, and so I just stayed around a while and made a few friends”

Paris in the 1920's was a place that seemed to embody dynamic artistic achievement. Many of the great artists of modernist movements were either there or had passed through at some point. It became the living embodiment of the old joke "So Hemingway, Fitzgerald and Modigliani walk into a bar..." For Americans traveling to Paris after the war with artistic intentions, it was a win-win situation: Freedom from

In Charles Rearick’s book, Paris Dreams, Paris Memories, he describes the various ways in which Paris is “represented” through various images he identifies as the City of Light, Old Paris, the Capital of Pleasures, and Paname. Rearick further writes how and why these images of Paris came of importance and how they shaped the geographical layout of the city we know today. All of these images together have likewise produced the city of Paris while also providing the framework of Parisian events and experiences.

"I am always surprised at all the things people read into my photos, but it also amuses me. That may be because I have nothing specific in mind when I’m working. My intentions are neither feminist nor political. I try to put double or multiple meanings into my photos, which might give rise to a greater variety of interpretations. (Sherman)" In 1977 artist, and feminist, Cindy Sherman created a series of untitled film stills over a five-year span. Each of these stills depicts Sherman playing a different role as a woman in society. Although Sherman did not try to portray a message of feminism in her art, it was inevitable during this time period. When looking at her stills, women now, and in the 80’s saw a message of female empowerment. They saw a beautiful, confident woman making a statement and it made them want to make a statement to. Even though these stills are not on display in a museum, they can be viewed on the Museum of Modern Art website. After examining Sherman’s thirty-fifth film still, it is clear that Sherman’s work depicts a strong message about women of the late 70’s and the early 80’s.

I visited the Installation by Linda Bond in the Human Rights Institute Gallery which runs from September 5th thru December 20th, 2017. On October 5th, 2017, there was a reception with the artist. Unfortunately, I missed the opportunity to meet her.