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 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.

2. Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 Laszlo Moholy-Nagy, From the radio tower 1928

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

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

5. 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 stylesa self-conscious, ironical use of earlier art stylesimages relating to consumerism and mass communication of late 20th-century post-industrial society

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

7. 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.

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

9. 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.

10. Roy Liechtenstein, “Hopeless” 1963

11. Cindy Sherman, Untitled #87, 1982

13. Cindy Sherman, Untitled #96, 1982

14. Cindy Sherman, Untitled #122 1983

15. Cindy Sherman, Untitled 1985

16. Cindy Sherman, Untitled #408 2002

17. 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

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

19. Robert Mapplethorpe, portrait of Cindy Sherman, c1985 Abe Frajndlich, Cindy Sherman, 1987

20. Robert Mapplethorpe, portrait of Cindy Sherman, c1985 Chuck Close, Cindy Sherman, c1995

21. Martin Schoeller, portrait of Cindy Sherman, 2000 Chuck Close, Cindy Sherman, c1995

22. Chuck Close, portrait of Cindy Sherman, 2006, Jacquard tapestry from original Daguerrotype Martin Schoeller, portrait of Cindy Sherman, 2000

23. Chuck Close, portrait of Cindy Sherman, 2006, Jacquard tapestry from original Daguerrotype David Hershkovits, Cindy Sherman, 2008

24. Cindy Sherman Vogue video

25. 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.

26. 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

28. Gillian Wearing, Self Portrait at Three Years Old, 2004 Gillian Wearing, Self Portrait at 17 Years Old, 2004

29. Gillian Wearing, Self Portrait at 17 Years Old, 2004 Gillian Wearing, Self Portrait as my Mother Jean, 2003

30. Gillian Wearing, Self Portrait as my Father Brian, 2003

31. 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.

32. Gregory Crewdson, Untitled 2001, from Twilight series

36. ‘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

37. Gregory Crewdson on the set

39. Jeff Wall The Flooded Grave, 1999

41. 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

44. Shooting exteriors, Cemetry 1

45. Digging Hole, Cemetry 2

46. Studying a Polaroid

47. Adjusting water depth

48. Casting hole in plaster, cemetry 2

49. Positioning moulds in tank

50. Extracting rocks from seabed

51. Assembling the rock structure

52. Finishing set details

53. View of studio during erection of lighting tent

54. Creating the set

55. Giant Pacific Octopus in the holding tank

56. Wrangling fish during shooting

57. Looking at a transparency on set

58. During shooting

60. 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.

61. Annie Liebovitz, Demi Moore, 1992 Her work is highly conceptual, requiring much planning and preparation of makeup, costume, sets and locations.

62. Annie Liebovitz, Queen Latifah for Disney Parks

66. Annie Liebovitz, Sopranos publicity, 2007

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

69. Annie Liebovitz, Sopranos publicity, 2007

70. Leonardo da Vinci, The Last Supper, 1490s

71. 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

72. Ezra Stoller, Seagram Building 1958

73. John Gollings, Beijing Tennis Centre, 2007

74. John Gollings, National Museum, Canberra

75. John Gollings

76. John Gollings, Melbourne Observatory Café, 1999

77. John Gollings, Jackson Farm House, 1982

79. John Gollings, Freedom Club, Keysborough, 1999