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Staged Photography: Top 10 Artists
Staged photography concerns the photographic image that has been arranged or gear up-up. Artists accept long utilised the medium of photography to created a contrived environment, scene or vignette to communicate something other than the decisive moment typical of the opportunist snap or documentary prototype traditionally associated with the medium. Staging gives the artist the opportunity to brand very specific and careful choices, in order to command every chemical element and even sometimes to give the appearance of spontaneity. With or without models, staged photography can be broken down into several categories; ranging from fantastical scenes impossible to contemplate in reality, to trompe l'oeil exercises in technical virtuosity frequently set up in a studio, to full movie production tableaux vivants. The selection below is by no means exhaustive but illustrates some of the well-nigh notable, distinctive and original applications of the idea in the production of modern and gimmicky fine art in the final century. Not all were recognised as important artistic or technical innovators at the time, merely present all are universally acknowledged for the significance of their vision and contribution.
1. John Hinde
A pioneer in the use of color staged photography in advertising and propaganda, Hinde was involved in producing images for promotional posters during the 2nd World War in United kingdom of great britain and northern ireland; informative and propagandist scenes illustrating families working with their rations, gas masks and the trappings of everyday life in wartime Britain. Later on the state of war, he was nearly single-handedly responsible for evolving the imagery used in color souvenir postcards. He had a large roster of staff photographers who were trained to scrutinise every particular and chemical element in the pictures, contriving to add improvements or embellishments in lodge to brand the perfect paradigm. He built a large business organization consulting for tourist regime in the Britain and Republic of ireland who all relied on his incredible ability to brand everything look much meliorate than it was in reality. He famously planted flowers on a clifftop in order to make a coastal vista look much prettier and when contracted to make a promotional image for the Isle of Arran off Ireland's west coast, was forced to send staff to the mainland to get Arran sweaters for the kid models in the absence of suitable examples on the island itself. He was an early pioneer of manipulating the tone and saturation of colour in product, and in the late 1960s and 1970s produced a memorable series for the British vacation army camp chain Butlins, affordable yet somewhat basic holiday destinations for the working classes that appeared equally Utopian wonderlands in Hinde's representations of their various locations.
2. Pierre Molinier
A pioneer in the staged photograph in the depiction of sadomasochism and sexual fantasy. In the early twentieth century, Molinier began his artistic career as a mural painter working in a style somewhat like to the Impressionists and Fauvists. In the late 1940s he began to explore the medium of photography for a deeply personal interest in fetishism and eroticism, and afterward a flow in which he was closely associated with Andre Breton was integrated into the belatedly iterations of the Surrealist grouping in Paris. In a 1965 Surrealist exhibition he exhibited a dildo, a feature called a 'godemiche' which recurred extensively in his photography of this period. From 1965 onwards he made nearly of his piece of work in his Bordeaux apartment (which he referred to as his 'boudoir'), and with the assist of a remote control switch, he began to brand autoerotic cocky-portraits and photomontages in which he assumed the roles of dominatrix and succuba. In these beautifully fabricated, intimate black and white photographs, Molinier, either alone with doll-like mannequins or with female models, appears as a transvestite, transformed by his 'fetish' wardrobe of fishnet stockings, suspender chugalug, stilettos, mask and corset. Scholarship is unclear as to whether these images were for public exhibition or were instead deeply personal visual mementoes merely for "my ain stimulation" as Molinier himself stated in 1955. His images were also often meticulously collaged into montages of vertical or radially symmetrical configurations of figures, like the multi-limbed deities of Hindi religious iconography. A homosexual and a transvestite, Molinier despised moral and sexual orthodoxy, pioneering the kind of fierce sexual fantasy imagery nearly of the Surrealists could only dream of, and surely blazing a trail for later artists such as Mapplethorpe and Araki.
3. Cindy Sherman
Commencement her art studies in 1972, Cindy Sherman was originally a painter. Only when she realised that she was spending most of her time reverentially working through the kind of work other artists had already made she abandoned this medium altogether. "In that location was zilch more than to say [through painting]", she recalled. "I was meticulously copying other art, then I realized I could just employ a photographic camera and put my time into an idea instead." Renowned for assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model, she has always performed as the subject-characters of her works and has worked through many different bodies of piece of work exploring iterations of this thought. She typically works on a unmarried idea at a time and then develops it extensively through a series of images, the first examples of which are the Bus Riders images begun in 1976 and in which she used costumes and make-upward, including blackface, to transform her identity for each image. Developing this theme led to the major breakthrough series which confirmed Sherman equally a major voice in gimmicky fine art and in the process garnered international recognition; The Untitled Motion picture Stills of 1977-1980. In these works, a serial of 96 images, Sherman poses as if a heroine in a movie, echoing the tropes and themes of films, most specifically the realist cinema of Italy and France of the 1960s, and the movie noir genre of Hollywood from the tardily 1940s through the 1960s. The artist poses in different roles including librarians, hillbillies, and seductresses, and in various settings including street scenes, nondescript front yards, swimming pools, beaches, and interiors, with each appearing to be a frozen moment of cinematography from a broader narrative. None are titled, but numbered, allowing the narrative to be unsaid and inferred rather than overtly stated. Throughout the 1980s and to the present twenty-four hours Sherman has completed many series, working with historical themes of portraiture, circus characters, the grotesque, oft besides using elaborate prosthetics, makeup, lighting and large format printing processes.
4. Laurie Simmons
Laurie Simmons is an artist, lensman and filmmaker who also came to prominence in the late 1970s, and besides part of the and so-called Pictures Generation, named for those artists included in and associated with the grouping shown in the exhibition Pictures in 1977 and brought together in a survey show at the Met in 2009. In 1972, Simmons discovered a vintage dollhouse in the attic of a toy store in Liberty, New York. This was during the 2nd wave of feminism, and dolls were viewed skeptically past many who claimed that the toys supported the indoctrination of young girls into adopting domestic roles. Simmons was drawn to the foreign, strongly gendered appeal of dolls and dollhouses and began photographing them. Since the mid-1970s she has staged scenes with dolls, props and models of interiors in club to represent domestic scenes. Simmons' first mature works, shot in 1976, were black-and-white images taken in a dollhouse; shot in each room in the firm without figures, especially the bathroom, using sunlight and unlike angles to create a dreamlike stage setting. She and so added a housewife doll into a kitchen set and photographed the effigy over and over in various positions — standing and sitting at the table, performing perfunctory kitchen chores, at the counter, in a corner, even standing on her caput with the kitchen in disarray. She has shot model interiors with replicas of iconic artworks, and in the later 1970s began to make works in a color procedure more oftentimes associated with commercial photography. By using the techniques identified with advert, fashion, and film, Simmons linked her work to a fantasy world of suspended belief. She has made series nigh fashion, interior design, tourism, cowboys and water ballet. Much of Simmons' work concerns the function of women in society. Her 'objects on legs' photos series from the late 1980s feature consumer items such every bit dollhouses, cakes, guns and musical instruments with long, slender legs, intending to make a argument on traditional gender roles. In a March 2014 interview, Simmons stated, "When I picked up a camera with a group of other women, I'm not going to say it was a radical human activity, simply we were certainly doing it in some sort of disobedience of, or reaction to, a male-dominated world of painting".
5. Sandy Skoglund
Sandy Skoglund is both an installation artist and a photographer. She creates surrealist images by building elaborate sets or tableaux, furnishing them with carefully selected colored piece of furniture and other objects, all of which reflects the chosen palette motif, a process of which takes her months to complete. Finally, she photographs the fix, by and large including alive models. The works are characterized by an overwhelming corporeality of one object and either bright, contrasting colors or a monochromatic color scheme. In 1972, Skoglund began working every bit a conceptual artist in New York City. She became interested in teaching herself photography to document her artistic endeavors, and experimenting with themes of repetition. She was interested in dealing with repetitive, process-oriented fine art production through the techniques of mark-making and photocopying. In 1978, she had produced a series of repetitious nutrient item still life images. Skoglund'south works are quirky and idiosyncratic, creating a dreamlike scene. They were described past New York Times photography critic equally "evoking adult fears in a playful, childlike context"
6. James Casebere
James Casebere is a pioneering artist in the field of conceptual and staged photography, associated with the pictures generation of postmodern artists who came to prominence in the tardily 1970s and 1980s. In 1977, he attended the Whitney Independent Study Plan in New York and received an MFA from Cal Arts in 1979, where his classmates included Tony Oursler and Mike Kelley. For over forty years he has built and photographed architecturally based models, which explore the relationship betwixt sculpture, photography, architecture, and film. His hauntingly beautiful piece of work has established him at the forefront of artists working with constructed photography. For the last thirty years, Casebere has devised, designed and constructed increasingly complex models that are subsequently photographed in his studio. Based on architectural, art historical and cinematic sources, his table-sized constructions are fabricated of simple materials, pared downward to essential forms. Casebere's abandoned spaces are evocative and oftentimes suggestive of prior events, encouraging the viewer to reconstitute a narrative or symbolic reading of his work. From 1986 he has also fabricated big scale installations of his sets. Early bodies of work include images of the American suburban home. This was followed by both photographs and sculptural installations addressing themes as various equally a mythical American West, dissimilar periods and vernaculars of architectural interiors, institutional buildings and even prisons. He has made images of the bunker under the Reichstag, flooded eighteenth century rooms, Hispano-Moresque architecture, and even specific renderings of spaces designed and built by renowned art nouveau architect Victor Horta, and American modernist, Richard Neutra. Casebere'southward photographs of sculptural installations advise "an element of unreality that sparks a feeling or causes viewers to question the space and fill information technology with answers of their ain".
7. Pierre et Gilles
Pierre Commoy and Gilles Blanchard are a French photographic duo who met at the opening dark of the Kenzo shop at Place des Victoires, Paris, in 1976. They tell a story that they left on the aforementioned scooter that night and never separated. This marked the starting time of a passionate relationship besides as a prolific creative collaboration. For about 40 years they have created a sumptuous dreamlike earth of flamboyant theatricality, steeped in reference to cinema, literature and pop culture. Their portraits take encompassed the loved ones of friends of the family, beau artists and artistic collaborators and celebrities. The artistic procedure is precise and meticulously apposite: together the duo draft a project – beginning every bit a cartoon, and then equally an actual mise en scène where the use of myriad objects and accessories brought from their travels results in a rich theatrical spectacle, highlighted by their use of the dramatic phase and lighting effects. Pierre and Gilles design and arts and crafts their stunning costumes themselves, and they choose the make-up and hairstyle, applying them with the help of experts. In one case the set up is prepare, Pierre photographs it and Gilles retouches the unique print with layers of paint, making the finished artwork an unusual combination of photograph and hand-tinted painting. The early works that propelled them to fame and employed unproblematic backgrounds and make clean colours and were more focused on the subjects of the portrait. Images of Andy Warhol, Mick Jagger and Iggy Pop published in the French magazine Façade were notable early on examples. Their work is deeply rooted in a crossover betwixt loftier fine art and popular civilization, making a hybrid high art /lowbrow kitsch sensibility. They often invoke references to the religious iconography of saintly portraits and Catholic martyrs, eroticism, caricatural, mythology and children'due south tales. Constantly revamping the art of portraiture, the 2 men explore the limits of what tin be considered fine art. Recurring characters fill their frames: sailors, princes, fishermen, saints – only the story of these figures is told with both tenderness and cruelty, in a fairytale mode. The campness and explicit reference to gay culture carry a strong bulletin of defiance, openness and tolerance. Jeff Koons believes the pair have strongly shaped culture as we know it today: "Information technology's hard to recall of gimmicky civilisation without the influence of Pierre et Gilles, from advert to fashion photography, music video, and pic. Their highly saturated images, making reference to art history and religious iconography, create a visual impact that transcends cultures around the earth. This is truly global art"
eight. Thomas Demand
Need is a German sculptor and photographer. He is known for making photographs of iii-dimensional models built carefully past him that look like real images of rooms and other spaces. He oft recreates sites loaded with social and political meanings, such as the New York hotel room in which L. Ron Hubbard worked on Dianetics, which was the starting point for Zimmer (Room) (1996), Scheune (Barn) (1997) which is based on a Hans Namuth photograph of Jackson Pollock and Lee Krasner in Pollock's Due east Hampton studio, and Command Room, which shows the command center of a Japanese nuclear power institute in the aftermath of an earthquake. He describes himself equally a conceptual artist for whom photography is an intrinsic part of realising his finished image. He studied sculpture as an art educatee at the Kunstacademie Düsseldorf, alongside Katharina Fritsch and Thomas Schütte, and somewhen began his art career as a sculptor. In the early on 1990s, he began to use photography to record his elaborate, life-sized construction models made from paper and paper-thin. These recreated actual or formerly existing environments and interior spaces and signalled the beginning of making constructions for the sole purpose of photographing them. The photographs he takes of his models are made with a large-format camera. After the photographic work is completed Need destroys his life-sized environments since they have served their purpose. The life-sized models are highly detailed, yet upon close scrutiny, their artifice can be detected. They retain subtle simply deliberate flaws and anachronisms, such as an unnaturally compatible texture, flatness of color and can be disquieting. According to New York Times art critic Michael Kimmelman, "the reconstructions were meant to exist close to, but never perfectly, realistic so that the gap between truth and fiction would always subtly testify".
9. Gregory Crewdson
Gregory Crewdson is an American photographer whose work has themes of American small towns, neighbourhoods and homes at its cadre. Crewdson'south photographs usually take place in small-boondocks America, merely are dramatic and cinematic with a penchant for the unsettling and sinister. They oft feature agonizing, surreal events, imply a complex and melodramatic narrative and capture profound themes of fearfulness and anxiety, love, loss, life and death in i moment of stillness. With a budget similar to that of a small pic production each prototype involves huge crews and weeks to months of planning. His photographs are elaborately staged and lit using the expertise of move picture production and lighting professionals, often using the same equipment and techniques. He has cited the films Vertigo, The Night of the Hunter, Close Encounters of the Third Kind, Blue Velvet, and Safe as having influenced his style, all of which are noted for their innovative use of dramatic lighting design. He has as well discussed the painter Edward Hopper and photographer Diane Arbus as central influences. In 2012, he was the subject of the feature documentary movie Gregory Crewdson: Cursory Encounters. The film followed the construction and the behind-the-scenes explanation from Crewdson himself of his thought process and vision for his Beneath the Roses, a series considered the most allegorical of his practice.
10. David Lachapelle
Once chosen the Fellini of photography, as a youngster LaChapelle frequented NYC nightspot Studio 54 where he met Andy Warhol. Hired to shoot for Warhol'south Interview magazine, Lachapelle was responsible for the concluding portrait of Warhol, prior to his mentor'south death. In the 1990s Lachapelle became the go-to photographer for celebrity shoots and music videos, covering everyone from Tupac Shakur, to Hilary Clinton and every famous person in between for publications as diverse as Rolling Rock and Italian Vogue. As his popularity and resource increased LaChapelle developed a Factory-similar studio in Manhattan's Eastward Hamlet where he built ever more than elaborate sets to phase his photographs. He has worked with Pamela Anderson for many years and has made a pop civilisation icon out of transsexual Amanda Lapore, another of his muses. In the early 2000s, he relocated to Los Angeles, converting a huge industrial facility into an even more elaborate studio for the structure of his lavish productions. Mixing references to pop civilization, fine art history, motion picture and music history and street kitsch, Lachapelle has go one of the nigh recognised photographers in the Globe. He has designed a Las Vegas concert residency at Caeser's Palace for Elton John and fabricated a feature film of a street trip the light fantastic toe culture in due south-fundamental LA called Rize. In recent years LaChapelle has focused more extensively on important themes in international affairs, such as climate change, and oppression, attempting to distil these ideas in bodies of work made intentionally for fine art gallery exhibitions rather than commercial clients. Based primarily on a tranquility farm in Hawaii these days LaChapelle has made elaborate staged photography a connected part of both commercial and fine art for over 20 years.
Relevant sources to learn more
Top ten Landscape Artists in Mod and Contemporary Art
Performance Art: Top ten Artists, from Early Pioneers to Contemporary Frontliners
Shapeshifters. Top 10 Pioneers of the shaped sail
The Art of Repetition: Top 10 Design Artists
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Source: https://magazine.artland.com/staged-photography-top-ten/
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