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64-482: Metro's opening group exhibition in 1980 included Cindy Sherman , Robert Longo , Troy Brauntuch , Jack Goldstein , Sherrie Levine , Laurie Simmons , James Welling , and Richard Prince . During the early and mid-1980s, Mike Kelley , Louise Lawler , Martin Kippenberger , John Miller , Tony Oursler , Walter Robinson , and Jim Shaw joined the gallery. Newer generations of artists have continued to expand

128-602: A BFA in 1975. While at Buffalo State, he studied under art professor Joseph Piccillo. At this time he was in a romantic relationship with artist Cindy Sherman , who was also studying art at Buffalo State. While in college, Longo and friends established a contemporary art gallery in their co-op building called the Essex Art Center, which eventually became Hallwalls Contemporary Art Center . Through his gallery efforts, Longo met many local and New York City artists and eventually moved to New York City to participate in

192-612: A 29,000 sq ft (2,700 m) warehouse at 515 West 24th Street. The space was renovated by 1100 Architect in 2016. It closed in December 2021. 40°44′56.21″N 74°0′17.41″W  /  40.7489472°N 74.0048361°W  / 40.7489472; -74.0048361 Cindy Sherman Cynthia Morris Sherman (born January 19, 1954) is an American artist whose work consists primarily of photographic self-portraits , depicting herself in many different contexts and as various imagined characters. Her breakthrough work

256-491: A 32-page insert Sherman did for POP using vintage clothes from Chanel ’s archive, a more recent series of large-scale pictures from 2012 depict outsized enigmatic female figures standing in striking isolation before ominous painterly landscapes the artist had photographed in Iceland during the 2010 eruptions of Eyjafjallajökull and on the isle of Capri. In 2017, she collaborated on a "selfie" project with W Magazine that

320-528: A body made of prosthetic. Her face is the only part of her that shows but is covered by a gas mask meant to emphasize the parts of the female body that tend to be over-sexualized. "I'm trying to erase myself more than identify myself or reveal myself. That's a big, confusing thing that people have with my work: they think I'm trying to reveal these secret fantasies or something. It's really about obliterating myself within these characters." —Cindy Sherman Between 2003 and 2004, Sherman produced

384-697: A fascination with mass media ; movies, television, magazines, and comic books , which continue to influence his art. Longo began college at the University of North Texas , in the town of Denton , but left before earning a degree. He later studied sculpture under Leonda Finke, who encouraged him to pursue a career in the visual arts. In 1972, Longo received a grant to study at the Accademia di Belle Arti in Florence , Italy. Upon his return to New York, Longo enrolled at Buffalo State College , where he received

448-408: A fault, and her father as strict and cruel. She was raised Episcopalian . In 1972, Sherman enrolled in the visual arts department at Buffalo State University , where she majored in painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing. Frustrated with what she saw as

512-452: A freshman, she repeated the course with Barbara Jo Revelle, whom she credited with introducing her to conceptual art and other contemporary forms. At college she met Robert Longo , a fellow artist who encouraged her to record her process of "dolling up" for parties. This was the beginning of her Untitled Film Stills series. In 1974, together with Longo, Charles Clough and Nancy Dwyer , she created Hallwalls , an arts center intended as

576-588: A friend. The shots were also largely taken in her own apartment. The Untitled Film Stills fall into several distinct groups: The Museum of Modern Art in Manhattan purchased the series for an estimated $ 1 million in 1995. Untitled Film Still #21 was listed as one of the 100 influential photographs by TIME Magazine . In addition to her film stills, Sherman has appropriated a number of other visual forms—the centerfold, fashion photograph, historical portrait, and soft-core sex image. These and other series, like

640-554: A major retrospective of Sherman's works from the mid-1970s to the present. In 2024, at the Goulandris Museum of Cycladic Art , Athens, Sherman's first exhibition in Greece was held, gathering together over a hundred of her early works. In Sherman's Imitation of Life series of 2016 she poses, in vintage costume and theatrical makeup, as a variety of ageing actress-like women. When writing about Sherman's "Film Stills" in

704-512: A monograph by Rizzoli. For Balenciaga , Sherman created the six-image series Cindy Sherman: Untitled (Balenciaga) in 2008; they were first shown to the public in 2010. Also in 2010, Sherman collaborated with Anna Hu on a design for a piece of jewelry. She returned to working with Teller on Marc Jacobs' Spring/Summer 2024 campaign. In the early 1990s, Sherman worked with Minneapolis band Babes in Toyland , providing photographs for covers for

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768-501: A result reminiscent of stills typical of Italian neorealism or American film noir of the 1940s, 1950s and 1960s. Sherman avoided putting titles on the images in order to preserve their ambiguity. She would often pose her heroines as alone, expressionless, and in private. An overarching characteristic of her heroines were those that did not follow conventional ideas of marriage and family; they were rebellious women who either died as that or who were later tamed by society. In this series,

832-642: A series of advertisements for her store, Dianne B., that appeared in several issues of Interview magazine . Sherman also created photographs for an editorial in Harper's Bazaar in 1993. In 1994, she produced the Post Card Series for Comme des Garçons for the brand's autumn/winter 1994–95 collections in collaboration with Rei Kawakubo . In 2006, Sherman created a series of fashion advertisements for designer Marc Jacobs . The advertisements themselves were photographed by Juergen Teller and released as

896-454: A series of blackened American flags ("Black Flags" 1989–91) as well as oversized hand guns ( Bodyhammers 1993–95). From 1995 to 1996 he worked on his Magellan project, 366 drawings (one per day) that formed an archive of the artist's life and surrounding cultural images. "Magellan" was followed by 2002's Freud Drawings , which reinterpreted Edmund Engelman 's famous documentary images of Sigmund Freud 's flat, moments before his flight from

960-406: A setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants. She has said of her process, "I think of becoming a different person. I look into a mirror next to the camera…it’s trance-like. By staring into it I try to become that character through the lens ... When I see what I want, my intuition takes over—both in the 'acting' and in

1024-406: A shared interest in arranging bodies, like a puppeteer, in diorama-like scenes. According to author Dahlia Schweitzer , Office Killer is full of unexpected characters and plot twists. Schweitzer considers the film to be a comedy, horror, melodrama, noir, feminist statement, and an art piece. The film got negative reviews. In a review for The New York Times , art critic Roberta Smith states that

1088-799: A space that would accommodate artists from diverse backgrounds. Sherman was also exposed to the contemporary art exhibited at the Albright-Knox Art Gallery , the two Buffalo campuses of the SUNY school system, Media Studies Buffalo, and the Center for Exploratory and Perceptual Arts, and Artpark , in nearby Lewiston, N.Y . It was in Buffalo that Sherman encountered the photo-based conceptual works of artists Hannah Wilke , Eleanor Antin , and Adrian Piper . Along with artists like Laurie Simmons , Louise Lawler , and Barbara Kruger , Sherman

1152-715: A still image in Rainer Werner Fassbinder 's film The American Soldier . According to art critic William Wilson of the Los Angeles Times , the pictures recall nothing so much as the final scene in Ingmar Bergman 's The Seventh Seal . About four years passed before Longo turned the vision of a man shot in the back into a monumental series of drawings. He produced about 60 Men in the Cities between 1979 and 1982. One drawing from this series

1216-452: A youth- and status-obsessed culture. Her exhibition at the Museum of Modern Art in 2012 also presented a photographic mural (2010–11) accompanied by films selected by Sherman. In this mural, she photoshopped her face with a decorative backdrop to transform herself into a fictitious environment. Along with other characters, Sherman toys with the idea of reality and fantasy together. Based on

1280-479: Is considered to be part of the Pictures Generation . She graduated with a BA in 1976. Sherman works in series, typically photographing herself in a range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model. Bus Riders (1976–2000) is a series of photographs that feature

1344-666: Is often considered to be the collection Untitled Film Stills , a series of 70 black-and-white photographs of herself evoking typical female roles in performance media (especially arthouse films and popular B-movies ). Sherman was born in 1954, in Glen Ridge, New Jersey , the youngest of the five children of Dorothy and Charles Sherman. Shortly after her birth, her family moved to the township of Huntington , Long Island. Her father worked as an engineer for Grumman Aircraft . Her mother taught reading to children with learning difficulties. Sherman has described her mother as good to

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1408-631: Is represented by Pace Gallery  (since 2021) and Thaddaeus Ropac . Longo lived with artist Cindy Sherman from 1974 to 1980. He lived with artist Gretchen Bender from 1981 to 1989. Longo married German actress Barbara Sukowa in 1994. Together they have three sons: Hans Longo, Viktor Longo, and Joseph Longo. Longo moved to Europe in 1990, living for a few years in Paris and working in Spain and Germany. He lives in New York and East Hampton. When

1472-453: Is responsible for the front covers of Glenn Branca 's The Ascension from 1981 and The Replacements ' 1985 album Tim . In 1992, Longo directed an episode of Tales from the Crypt entitled "This'll Kill Ya". He also directed the cyberpunk film Johnny Mnemonic , starring Keanu Reeves , Dolph Lundgren and Takeshi Kitano , and a short film named Arena Brains . At the time, Longo

1536-525: The Clowns cycle, where the use of digital photography enabled her to create chromatically garish backdrops and montages of numerous characters. Set against opulent backdrops and presented in ornate frames, the characters in Sherman's 2008 untitled Society Portraits are not based on specific women, but the artist has made them look entirely familiar in their struggle with the standards of beauty that prevail in

1600-772: The Museum of Contemporary Art, Chicago in 1990, Hartford Athenaeum, The Isetan Museum of Art in Tokyo, and a Survey Exhibition 1980–2009 , at Musée d'art moderne et d'art contemporain in Nice France in 2009 and at Museu Colecção Berardo in Lisbon, Portugal in 2010. Group exhibitions include Documenta VIII, the Whitney Biennial , and the Venice Biennale . His photorealistic charcoal drawings were featured in

1664-480: The Nazis . In 2002 and 2004 he presented Monsters , Bernini -esque renderings of massive breaking waves and The Sickness of Reason , baroque renderings of atomic bomb blasts. Monsters was included in the 2004 Whitney Biennial . To create works such as Barbara and Ralph , Longo projects photographs of his subjects onto paper and traces the figures in graphite, removing all details of the background. After he records

1728-537: The No Wave art scene of the late-1970s and befriended artists and critics involved with the journal Effects: Magazine for New Art Theory . Although he studied sculpture, drawing remained Longo's favorite form of self-expression. However, the sculptural influence pervades his drawing technique, as Longo's "portraits" have a distinctive chiseled line that seems to give the drawings a three-dimensional quality. Longo uses graphite like clay, molding it to create images like

1792-946: The Serpentine Gallery in London and the Scottish National Gallery of Modern Art (2003), and Martin-Gropius-Bau in Berlin (2007), among others. Major traveling retrospectives of Sherman's work have been organized by the Museum Boymans-van Beuningen in Rotterdam (1996); the Museum of Contemporary Art, Los Angeles and the Museum of Modern Art in New York (1997), which was sponsored by Madonna ; and Kunsthaus Bregenz , Austria, Louisiana Museum for Moderne Kunst , Denmark, and Jeu de Paume in Paris (2006–2007). In 2009, Sherman

1856-662: The Venice Biennale (1982, 1995); and five Whitney Biennials . In addition to numerous group exhibitions, Sherman's work was the subject of solo exhibitions at the Stedelijk Museum in Amsterdam (1982), Whitney Museum of American Art in New York (1987), Kunsthalle Basel (1991), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1995), the San Francisco Museum of Modern Art (1998),

1920-551: The "penultimate visual anthem of the era," expanding upon Neal Benezra's 1988 analysis of the work as having been "the most representative work of art of the 1980s." The artist's Engines of State series (made between 2012 and 2019) was given to the National Gallery of Art in 2023 by Clifford Ross . In the 1980s, Longo directed several music videos, including New Order 's " Bizarre Love Triangle ", Megadeth 's " Peace Sells " and " The One I Love " by R.E.M. He

1984-743: The 1980s Fairy Tales and Disasters sequence, were shown for the first time at the Metro Pictures Gallery in New York City. It was with her series Rear Screen Projections , 1980, that Sherman switched from black-and-white to color and to clearly larger formats. Centerfolds/Horizontals , 1981, are inspired by the center spreads in fashion and pornographic magazines. The twelve (24 by 48 inches) photographs were initially commissioned — but not used — by Artforum 's Editor in Chief Ingrid Sischy for an artist's section in

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2048-478: The Murder Mystery and Play of Selves. In her landmark photograph series Untitled Film Stills , (1977–80), Sherman appears as B-movie and film noir actresses. When asked if she considers herself to be acting in her photographs, Sherman said, "I never thought I was acting. When I became involved with close-ups I needed more information in the expression. I couldn't depend on background or atmosphere. I wanted

2112-411: The albums Fontanelle and Painkillers , creating a stage backdrop used in live concerts, and acting in the promotional video for the song "Bruise Violet." She also worked as a film director. Sherman moved from photographs to film with her movie Office Killer in 1997, starring Jeanne Tripplehorn , Molly Ringwald and Carol Kane . Dorine, played by Carol Kane, is a stand-in for Sherman. They have

2176-505: The artist as a variety of meticulously observed characters. The photographs were shot in 1976 for the Bus Authority for display on a bus. Sherman used costumes and make-up, including blackface , to transform her identity for each image, and the cutout characters were lined up along the bus's advertising strip. Some critiques say that this work showed insensitivity to race through the use of blackface makeup while others state that it

2240-451: The basic contours, his long-time illustrator, Diane Shea, works on the figure for about a week, filling in the details. Next, Longo goes back into the drawing, using graphite and charcoal to provide "all the cosmetic work". Longo continues to work on the drawing, making numerous adjustments until it is completed about a week later. In March 2013, The Lexander Magazine reviewed Longo's 1982–83 diptych entitled Pressure , highlighting it as

2304-575: The camera. Robert Longo Robert Longo (born January 7, 1953) is an American artist, filmmaker, photographer and musician. Longo became first well known in the 1980s for his Men in the Cities drawing and print series, which depict sharply dressed men and women writhing in contorted emotion. He lives in New York and East Hampton. Longo was born in 1953 in Brooklyn , New York, and raised in Long Island . During his childhood he had

2368-543: The catalog essay by Philipp Kaiser for Sherman's 2016 exhibition at the Metro Pictures Gallery, he mentioned six short films that Sherman made while in college, and how they were the precursors that eventually led to Office Killer being created. The catalog also includes a conversation between Sherman and the director of the exhibit, Sofia Coppola , in which Sherman admits that she may star in an upcoming film project. Sherman's first solo show in New York

2432-430: The class out to a place near Buffalo where there were waterfalls and everybody romps around without clothes on and takes pictures of each other. I thought, ‘Oh, I don't want to do this. But if we're going to have to go to the woods I better deal with it early.’ Luckily we never had to do that." She spent the remainder of her college education focused on photography. Though Sherman had failed a required photography class as

2496-898: The divas of old Hollywood , such as Gloria Swanson , Mary Pickford , and Ruby Keeler . The series was exhibited in 2016 at the Metro Pictures Gallery in New York City, and also at the Broad Museum in Los Angeles. In 2017 it was shown at the Spruth Magers gallery in Berlin, Germany , and at the Wexner Center for the Arts in Columbus, Ohio. In 2019, the National Portrait Gallery, London , organized

2560-402: The editing. Seeing that other person that’s up there, that’s what I want. It's like magic." The series Untitled Film Stills (1977–1980), with which Cindy Sherman achieved international recognition, consists of 69 black-and-white photographs. The artist poses in different roles (librarians, hillbillies, and seductresses), and settings (streets, yards, pools, beaches, and interiors), producing

2624-613: The exhibition Proof at the Brooklyn Museum in 2017 alongside works by Francisco Goya and Sergei Eisenstein . Longo's work from the Men in the Cities series was prominently displayed in the apartment of fictional character Patrick Bateman in the film American Psycho (2000). In 2013, Longo's artwork was featured in an article in the men's magazine, Man of the World along with an article discussing his life and career. Longo

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2688-403: The film includes several artistically executed murder scenes. Office Killer grossed $ 37,446 and received generally poor reviews, which called the film "crude" and "laugh-free." In 2009, Paul Hasegawa-Overacker and Tom Donahue completed a feature documentary, Guest of Cindy Sherman, about the former's relationship with Sherman. She was initially supportive, but later opposed the project. In

2752-587: The film lacks the artist's usual finesse and is a retrospective of her work - "a fascinating if lumpish bit of Shermaniana." Movie critic colleague to Roberta Smith, Stephen Holden, called the film "sadly inept." Later, she had a cameo role in John Waters ' film Pecker , and also appeared in The Feature in 2008, starring ex-husband Michel Auder , which won a New Vision Award. Echoing similar grisly and gory elements as her Untitled Horror series,

2816-675: The first time. Provoked by the 1989 NEA funding controversy involving photographs by Robert Mapplethorpe and Andres Serrano at the Corcoran Gallery of Art , as well as the way Jeff Koons modeled his porn star wife in his "Made in Heaven" series, Sherman produced the Sex series in 1989. For once she removed herself from the shots, as these photographs featured pieced-together medical dummies in flagrante delicto . Between 1989 and 1990, Sherman made 35 large, color photographs restaging

2880-413: The gallery's offerings. These artists include Gary Simmons , Olaf Breuning , Andy Hope 1930 , Andre Butzer , Sara VanDerBeek , Tris Vonna-Michell , Trevor Paglen , Camille Henrot , Sam Falls (since 2013), Judith Hopf (since 2017), and Gretchen Bender (since 2020). In 1996, Metro Pictures teamed up with two other galleries – Gladstone Gallery and Matthew Marks Gallery – to acquire and divide up

2944-475: The gaze seems to come from another subject – "usually a man" – to highlight the concept of the male gaze . Modest in scale compared to Sherman's later cibachrome photographs, they are all 8 1/2 by 11 inches, each displayed in identical, simple black frames. Sherman used her own possessions as props, or sometimes borrowed, as in Untitled Film Still #11 in which the doggy pillow belongs to

3008-469: The journal October , the scholar Douglas Crimp states that Sherman's work is "a hybrid of photography and performance art that reveals femininity to be an effect of representation." However, Sherman does not consider her work or herself to be feminist, stating "The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff." Many scholars emphasize

3072-476: The late 1970s, such as Tier 3 . Members of the band included Richard Prince and David Linton. Menthol Wars also was part of a series of three staple-bound paperback books by Richard Prince published during 1980 by Printed Matter, Inc. . During the same period, Longo also performed with Rhys Chatham in Chatham's Guitar Trio and produced a series of slowly fading slides entitled Pictures for Music which

3136-434: The limitations of painting as a medium of art, she abandoned it and took up photography. "[T]here was nothing more to say [through painting]", she recalled. "I was meticulously copying other art, and then I realized I could just use a camera and put my time into an idea instead." Sherman has said about this time: "One of the reasons I started photographing myself was that supposedly in the spring one of my teachers would take

3200-491: The magazine. She poses either on the floor or in bed, usually recumbent and often supine. About her aims with the self-portraits, Sherman has said: "Some of them I'd hope would seem very psychological. While I'm working I might feel as tormented as the person I'm portraying." In 1982, Sherman began her Pink Robes series which includes Untitled #97, #98, #99 and #100. In Fairy Tales , 1985, and Disasters , 1986–1989, Cindy Sherman uses visible prostheses and mannequins for

3264-415: The relationship Cindy Sherman's work has with the concept of the gaze . In particular, scholars like Laura Mulvey have analyzed Sherman's Untitled series in relation to the male gaze . In a 1991 essay on Sherman, Mulvey states that ″the accouterments of the feminine struggle to conform to a facade of desirability haunt Sherman's iconography,″ which functions as a parody of different voyeurisms captured by

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3328-400: The settings of various European portrait paintings of the fifteenth through early 19th centuries under the title History Portraits . Sherman uses prosthetic limbs and mannequins to create her Sex Pictures series (1992). Hal Foster , an American art critic, describes Sherman's Sex Pictures in his article Obscene, Abject, Traumatic as "[i]n this scheme of things the impulse to erode

3392-414: The story to come from the face. Somehow the acting just happened." Many of Sherman's photo series, like the 1981 Centerfolds, call attention to stereotypes of women in society, films, television and magazines. When talking about one of her centerfold pictures Sherman stated, "In content I wanted a man opening up the magazine suddenly look at it with an expectation of something lascivious and then feel like

3456-883: The subject and to tear at the screen has driven Sherman […] to her recent work, where it is obliterated by the gaze." Reviewer Jerry Saltz told New York magazine that Sherman's work is "[f]ashioned from dismembered and recombined mannequins, some adorned with pubic hair, one posed with a tampon in vagina, another with sausages being excreted from vulva, this was anti-porn porn, the unsexiest sex pictures ever made, visions of feigning, fighting, perversion. … Today, I think of Cindy Sherman as an artist who only gets better." Greg Fallis of Utata Tribal Photography describes Sherman's Sex Pictures series and her work as follows: "With her Sex Pictures , Sherman posed medical prostheses in sexualized positions, recreating—and strangely modifying—pornography. An example of this can be seen in her work entitled Untitled,#264. Sherman displays herself with

3520-472: The violator that they would be looking at this woman who is perhaps a victim. I didn't think of them as victims at the time... Obviously I'm trying to make someone feel bad for having a certain expectation". She explained to The New York Times in 1990, "I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear." She describes her process as intuitive, and that she responds to elements of

3584-515: The writhing, dancing figures in his seminal Men in the Cities series. For that series, Longo photographed his friends lurching backward, collapsing forward or sprawled on invisible pavement. After enlarging the pictures through a projector, he and an artist assistant drew them in sizes ranging from three-quarter scale to larger than life-size. In the process, Longo often dramatized poses and always standardized attire into quite formal, black-and-white clothing. The idea for this work came, in 1975, from

3648-464: Was based on the concept of the "plandid", or "the planned candid photograph". Sherman utilized a variety of photo-correction apps to create her Instagram portraits. From 2019 she showed self-portraits executed as tapestries by a Belgian workshop. Sherman's career has also included several fashion series, including designs for Prada, Dolce & Gabbana, and Marc Jacobs. In 1983, fashion designer and retailer Dianne Benson commissioned her to create

3712-597: Was included in the seminal show " The Pictures Generation , 1974–1984" at the Metropolitan Museum of Art . In 2012, the Museum of Modern Art mounted Cindy Sherman, a show that chronicled Sherman's work from the mid-1970s on and include more than 170 photographs. The exhibition travelled to the San Francisco Museum of Modern Art and the Walker Art Center in Minneapolis. In 2013, Sherman

3776-430: Was invited to organize a show within that year's Venice Biennale . In 2016, after a sabbatical from her studio which was spent "coming to terms with health issues and getting older," Sherman produced and staged her first photo gallery in five years. The series, "The Imitation of Life," named after a 1959 melodrama by Douglas Sirk , tackles aging by presenting Sherman in highly stylized glamour portraits inspired by

3840-531: Was presented at a noncommercial space The Kitchen in 1980. When the Metro Pictures Gallery opened later that year, Sherman's photographs were the first show. "Untitled Film Stills" were shown first at the non-profit gallery Artists Space where Sherman was working as a receptionist. Her first solo exhibitions in France were presented by Galerie Chantal Crousel in Paris. Sherman has since participated in many international events, including SITE Santa Fe (2004);

3904-569: Was projected behind the musicians. Commissioned by Italian luxury label Bottega Veneta , Longo photographed models Terron Wood and Alla K for the brand's fall/winter 2010 advertisements, evoking memories of the dancing silhouettes of his Men in the Cities series. Longo has had retrospective exhibitions at Hamburger Kunstverein and Deichtorhallen, Menil Collection in Houston, the Los Angeles County Museum of Art in 1989,

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3968-481: Was quoted as saying, "making a painting is one thing, but making a film kicks your ass." During the late 1980s and early 1990s Longo developed a number of performance art theatre pieces, such as Marble Fog and Killing Angels , collaborating with Stuart Argabright, the guitarist Chuck Hammer and Douglas Sloan . Longo was the leader and guitarist of a musical act called Robert Longo's Menthol Wars , which performed no wave experimental music in New York rock clubs in

4032-484: Was rather with the intention of exposing racism embedded in society. The American theatre critic Margo Jefferson has written, "[The African-American figures] all have nearly the same features, too, while Ms. Sherman is able to give the white characters she impersonates a real range of skin tones and facial features. This didn't look like irony to me. It looked like a stale visual myth that was still in good working order." Other early works involved cutout figures, such as

4096-416: Was used as the album cover to Glenn Branca 's album The Ascension . As a consequence, in his 30s, Longo was among the most widely publicized, exhibited and collected artists of the 1980s along with the likes of Cindy Sherman and David Salle . However, several critics have commented that Longo had lost his way as a visual artist by the mid-'80s. Working on themes of power and authority, Longo produced

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