{"id":387,"date":"2017-02-14T11:43:31","date_gmt":"2017-02-14T16:43:31","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/?p=387"},"modified":"2017-02-14T11:47:50","modified_gmt":"2017-02-14T16:47:50","slug":"too-true","status":"publish","type":"post","link":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/3-too-true\/too-true\/","title":{"rendered":"Too True"},"content":{"rendered":"
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Cape Canaveral, Florida by Tseng Kwong Chi, 1985: Chi, a Chinese-American, performs his Chinese identity by taking photos of himself dressed as a Mao type figure, interacting with American landmarks.<\/p><\/div>\n

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Fading Away by Henry Peach Robinson, 1858: Robinson is using composite imagery to create pictorial scenes here. The image looks real because it is a photograph, but its actually highly staged and a composite of multiple photos.<\/p><\/div>\n

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The Mythic Being: Sol’s Drawing #1-5 by Adrian Piper, 1974: In this series Adrian Piper dons the hyper masculine identity of the mythic being. The untruth here is that this appears to be a portrait of a man but it is actually a self portrait of the artist.<\/p><\/div>\n

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Malaika #07 by Lise Sarfati, 2010: Sarfati poses her models, aspring LA actors, in scenes that are meant to capture their experiences. These are based on real feelings, but the actual scenes are creations.<\/p><\/div>\n

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Child with Toy Hand Grenade by Diane Arbus, 1962: This famous Arbus photo seems to show some war traumatized child, but its actually just a kid who wants to get back to playing. Arbus creates a narrative that isn’t actually in front of her.<\/p><\/div>\n

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Spiral Jetty After Robert Smithson by Vik Muniz, 1997: Muniz recreates Robert Smithson’s massive, “Spiral Jetty” as a shoe box sized scene. You can’t tell its a recreation from the photo alone though.<\/p><\/div>\n

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Room #1 by Jerry Uelsmann, 1963: This is a composite image of around 6 different photos, combined to create a surreal, dream like scene<\/p><\/div>\n

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Untitled #355 by Cindy Sherman, 2000: This is a self portrait of the artist who transforms her identity with makeup, becoming a different person in the photograph.<\/p><\/div>\n

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Untitled by Jo Ann Callis, n.d: Callis carefully creates scenes with women that play with feminine identities<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":319,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-387","post","type-post","status-publish","format-standard","hentry","category-3-too-true"],"_links":{"self":[{"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/posts\/387","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/users\/319"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/comments?post=387"}],"version-history":[{"count":0,"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/posts\/387\/revisions"}],"wp:attachment":[{"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/media?parent=387"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/categories?post=387"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/visual-arts-2402-spring-2017\/wp-json\/wp\/v2\/tags?post=387"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}