Cindy Sherman
Cindy Sherman established her reputation—and a novel brand of uncanny self-portraiture—with her “Untitled Film Stills” (1977-80), a series of 69 photographs of the artist herself enacting female clichés of 20th-century pop culture. Though her work continually re-examines women’s roles in history and contemporary society, Sherman resists the notion that her photographs have an explicit narrative or message, leaving them untitled and largely open to interpretation.
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| Untitled Film Still #21 1980 Gelatin silver print, Cindy Sherman |
Untitled Film Still #56 1980 Gelatin silver print Cindy Sherman
Untitled #474 20008 Chromogenic color print Cindy Sherman
Color and class are still the great divides in American culture, and few artists have surveyed them as subtly and incisively as Carrie Mae Weems, whose traveling 30-year retrospective has arrived at the Guggenheim Museum. From its early candid family photographs, through series of pictures that track the Africa in African-America, to work that explores, over decades, what it means to be black, female and in charge of your life, it’s a ripe, questioning and beautiful show. -NYTIMES 2014
Untitled, from the Kitchen Table Series,1990-2010 Silver gelatin print, Carrie Mae Weems
A Broad and Expansive Sky – Ancient Rome (from Roaming) 2006, Chromogenic print
A single waltz in time, 2003, Silver gelatin print, Carrie Mae Weems
Salgado is a photojournalist who seeks out the most moving, unsettling, perspective-shifting images of life on Earth. From his mind-swarming images of the Serra Pelada gold mine to his most recent epic labour Genesis, which documents the last pockets of undamaged nature and unmodernised peoples on Earth, Salgado shows secrets from remote places: things you thought were lost, crimes you never imagined. - The Guardian 2015
The opencast mine at Serra Pelada, Brazil, 1986.
Alto Xingu Indians, Brazil, 2005.
Greater Burhan oilfields, Kuwait. 1991
