Edward Weston
Cole Weston Print
“Pepper” has always been one of my favorite photographs. In this image, Weston transforms a monotonous object into a human-like figure. When I view this image, I see two people experiencing an intimate, tender moment - definitely not a bell-pepper. This “untruth” pushes the viewer to see human characteristics in other objects one would normally ignore.
Edward Weston
“Pepper” 1929
Cole Weston Print
Like “Pepper” in 1930, Weston conjures adjectives that would never be associated with a pepper. However, “Pepper” in 1929 evokes something grotesque, monstrous, and distorted - again, very strong adjectives for something as ordinary as a pepper. The untruth lies in the peppers’ evocative and preposterous nature.
Annie Leibovitz
"Keith Haring" (1986)
In Annie Leibovitz’s portrait of Keith Haring, she allows the artist to become the painting, not only physically, but characteristically. He becomes as wild, unruly and geometric as the figures in his works. There is a contradictory nature in how bold Haring’s work and character is, yet he blends in seamlessly to his surroundings.
Annie Leibovitz
"Meryl Streep" (1981)
In this portrait, Meryl Streep’s face literally becomes malleable - representing her ability to present herself as any character. This portrait evokes the ideology that Streep is no longer a person of her own, merely something that gets shaped and pulled into every which way. The untruth lies in her loss of personal character.
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Tim Walker
"Otis Ferry and his hunting hounds, Shropshire, England" (2007)
In this photograph, Walker creates a scene that seems highly improbable: Otis Ferry (a pro-hunting advocate) overpowered by a bizarrely large quantity of dogs in a very small room. Ferry seems completely out of character (based upon the painting of him in the back of the room), overwhelmed and uncomfortably distancing himself from the dogs.
Tim Walker
"Mimi Waddell, New York City" (2000)
In this portrait of Mimi Waddell, there seem to be two contradicting personalities - confusing the viewer what the truth actually is. There is the glamour of white gloves, glamourous hat boxes, and Waddell wearing a dramatic black hat. Challenging this high society symbols, is Mimi Waddell, old in a demure pink nightgown, aged, with aged and unpretentious furniture (the old TV, photographs above her head, and small iron bed).
Larry Sultan
"Boxers, Mission Hills" (1999)
In “Boxers, Mission Hills,” Sultan photographs middle-class home used for pornographic films. This image is candid, domestic and calm (despite the bowing boxers and white acrylic heels) - no adjectives one would normally associate with a pornography. By juxtaposing the porn-star with a domestic scene, he reveals how this taboo industry can be just as normal and monotonous as any job… at times.
Larry Sultan
"Practicing Golf Swing" (1986)
Larry Sultan also photographed his family. In “Practicing Golf Scene,” Sultan creates the illusion that his father is golfing outdoors. However once one registers the context (beyond the green floor and golf swing), the viewer realizes his father is indoors, in his boxers, watching TV, and practicing his swing. The untruth in this image is in the illusion of not only the viewer, but the father as well.
Sally Mann
Without the title of this photograph, one would assume that this girl is precocious and deviant from a “normal” childhood. However, once the viewer realizes that she is holding a candy cigarette, this photograph evokes confusion, whimsicalness, and just a regular child playing pretend. innocence. The untruth lies the in child naturally partaking in adult behaviors.
Sally Mann
“Gorjus” (1989)
In “Gorjus,” Sally Mann also depicts children acting in very adult ways. Instead of smoking cigarettes, these children apply makeup behind a beat up old pick up truck. Though the children seem to be acting like adults, there is still a reluctance and confusion of age identity. They children seem as if they were thrown into an adult setting, and are forcing themselves to conform.
Sally Mann
“Candy Cigarettes” (1989)
Without the title of this photograph, one would assume that this girl is precocious and deviant from a “normal” childhood. However, once the viewer realizes that she is holding a candy cigarette, this photograph evokes confusion, whimsicalness, and just a regular child playing pretend. innocence. The untruth lies the in child naturally partaking in adult behaviors.
