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 ternative, yet each merits special attention. Her mothers, fathers, children, and partners are people on the edge. They represent not only those on the margins of society, but traditional people, normal folk, who somehow look just as strange through the filter of her lens. A sort of documentary history She compared herself to Noah, “The working title, if you can call it that, for my book, which I keep postponing, is Family Album. I mean I am not…  use of his penchant for visual humour, cannot be totally serious. Why does he insist upon confounding us with this disparity of subject matter and confusion of style? This ‘problem’ was already apparent in 1976. Friedlander’s jocularity and overt displays of formal virtuosity tended to mask other aspects of his work, thereby raising questions about its ultimate meaning. In my earlier essay, for example, I asked the following: ‘Just what is Fried…  Interview with Artist Cindy Sherman – A Woman of Parts Art in America, June, 1997 by Noriko Fuku Cindy Sherman has been one of the most widely exhibited and discussed artists of her generation. She first attracted attention around 1980 with her black-and-white Untitled Film Stills, in which, employing sometimes elaborate costuming and staging, she assumed a variety of female personas familiar from American and European cinema. Sherman… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  ople. For some reason or other it didn’t kill me. And I feel that since I’ve progressed rather slowly, I still have a long career ahead of me. Yale: Could you tell us something about the experience of working with James Agee on the book, Let Us Now Praise Famous Men? W.E.: Oh yes. That of course is the most conspicuous thing I’ve done, entirely due to Agee. I have a lot of false renown because I was working with a tremendous man… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974) | ||||||||||||||
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