Re: feedback
Subject: Re: feedback
From: robert green <robertogreen@gmail.com>
Date: 4/28/11, 18:44
To: Barrett Brown <barriticus@gmail.com>, Jill Greenberg <jill@manipulator.com>

also glass ceiling singular not plural

Robert Green
Another Green World Productions
AGW: 310-860-8910
Fax:   323-446-7639
http://linkedin.com/robertogreen
http://twitter.com/robogreen
skype: robertogreenagw




On Thu, Apr 28, 2011 at 3:44 PM, robert green <robertogreen@gmail.com> wrote:
tableau not tableu

Robert Green
Another Green World Productions
AGW: 310-860-8910
Fax:   323-446-7639
http://linkedin.com/robertogreen
http://twitter.com/robogreen
skype: robertogreenagw




On Thu, Apr 28, 2011 at 3:41 PM, Barrett Brown <barriticus@gmail.com> wrote:
Okay, let me know if these changes work.

It’s unusual for an artist to find equal success in both the commercial and fine art worlds, but Jill Greenberg seems to have been destined by circumstances to do just that. While still a design student, she won her first assignment from Time; photography being an expensive medium in which to operate, the then-student was happy to accept an opportunity to fund her other work. Another advantage soon became evident as well: to exist in the commercial space as a creative-class female is to gain particular insight into the same dynamics of gender, power, and profit that Greenberg had already sought to examine less directly as a student of feminist theory. Over time, the lessons learned by the freelancer would come to influence the output of the artist.


Greenberg is most visible to the public by way of the great body of commercial photography and artwork she’s since produced for magazines such as Harper’s and The New Yorker and in ads and collateral for MGM, Coca Cola, MTV, Microsoft, and other institutions of the sort. Her photos have served as covers for Time and Newsweek and her unique proficiency with head shots has been sought after by the likes of Clint Eastwood and Glenn Close. Of course, assignments such as these translate into the time and money necessary to pursue other work under the artist’s own terms - but then Greenberg is best known for bringing those terms to bear on the assignment itself, sometimes to the chagrin of the subject.

When Atlantic chose Greenberg to do the photo shoot for a cover story on John McCain in the midst of his 2008 presidential run, the photographer took the opportunity to depict the longtime war enthusiast as she herself saw him, rather than in the literally flattering light by which politicians expect to be depicted for public viewing. The result was a candidate both menacing and frail; the other result was widespread condemnation by conservatives as well as those who prefer that photography always improve a candidate’s appearance rather than diminish it. Such controversy flows inevitably from Greenberg’s longtime commitment to activism, to her penchant for violating American taboos and defiling those aspects of our civic life that are too often left sacred at the expense of reason. Her End Times series drew on the raw distress of crying children as a means to illustrate the macabre ethos of fundamentalist Christianity and its murderous impact on domestic and foreign policy alike. Greenberg’s series of animal photography - Monkey Portraits, Bear Portraits, and the upcoming release of Horses - have likewise managed to straddle the line between fine and popular art, pleasing both critics and consumers.

With Glass Ceilings, Greenberg returns to the set of interrelated themes that have been the focus of her career partly by inclination, partly by the necessity of personal background - femininity, the marketplace, and the uncomfortable implications of a world in which the former remains a commodity to be sold within the latter. Just as with the McCain incident and much of her work in general, this project stems from an instance of absurdity that occurred in the context of a commercial assignment. Asked to photograph members of the U.S. Olympic Synchronized Swim Team in the reasonable setting of a pool but with the unreasonable addition of high heels - itself an element that heightens sexuality while hampering ability -  Greenberg was compelled to capture the entirety of the scene. The result is a sadly relevant series of shots depicting women struggling to keep head above water in a context defined by the constraints pressed upon them by others. That such a scene was not staged by the artist but rather brought about by the circumstances of gender and the marketplace provides the tableu with an unfortunate poignancy that can be provided only by reality itself, its failures and its lessons.

On Thu, Apr 28, 2011 at 4:47 PM, robert green <robertogreen@gmail.com> wrote:
i love the ending, fucking poetry!

solid stuff barrett.  let's talk script when you are done with this.  and don't forget to pay you we will need an invoice.


Robert Green
Another Green World Productions
AGW: 310-860-8910
Fax:   323-446-7639
http://linkedin.com/robertogreen
http://twitter.com/robogreen
skype: robertogreenagw




On Thu, Apr 28, 2011 at 1:33 PM, Jill Greenberg <jill@manipulator.com> wrote:
whitney's Independent study program in 1992
not a photo course a critical and theoretical program. and i made the first cut, out of 30, not the second out of 15 due to my admitted weakness in speaking about her work, as opposed to writing about it.

lets get rid of sassy and say TIME, i shot for Time right around then as well. i did a photo illustration of jeffrey Dahmer. my work was discovered by an art director from a show i had up of distortions in mirrored mylar.


try using "tableau" instead of "set" in the last sentence

"who seek to force women to bear children, implicitly promise that such progeny will be cared for by a loving society, and then proudly strip child service programs from every budget within reach. "

this might be a bit too intense
additionally the "extra" political stuff might be extraneous

you need to mention very the successful monkey portraits book, and the bear book and the upcoming horse monograph for Rizzoli
and the

"too often left sacred at the expense of reason"
does this mean reasonable people dont question them?

Jill Greenberg Studio
8570 Wilshire Blvd. Suite 250
Beverly Hills, CA 90211
P 310.360.6260
F 310.360.6202
----------------------
www.manipulator.com


On Apr 28, 2011, at 12:06 PM, Barrett Brown wrote:

Let me know what you think of this for a start; I can add in further mentions of your other work and am inclined to change up the last few sentences a bit anyway.

It’s unusual for an artist to find equal success in both the commercial and fine art worlds, but Jill Greenberg seems to have been destined by circumstances to do just that. She graduated in 1989 from the Rhode Island School of Design with honors, in Photography. and Shortly after not making the second admission cut into the Whitney's Independena Studio Program in 1992, despite recommendations from Peter MacGill and Andres Serrano, and her early digital conceptual art embracing the post modern critical dialog then popular
, she nonetheless won her first assignment from Sassy; photography being an expensive pursuit, the then-student was happy to accept an opportunity to fund her other work. Another advantage soon became evident as well: to exist in the commercial space as a creative-class female is to gain particular insight into the same dynamics of gender, power, and profit that Greenberg had already sought to examine less directly as a student of feminist theory. Over time, the lessons learned by the freelancer would come to influence the output of the artist.

Greenberg is most visible to the public by way of the great body of commercial photography and artwork she’s since produced for magazines such as Harper’s and The New Yorker and in ads and collateral for MGM, Coca Cola, MTV, Microsoft, and other institutions of the sort. Her photos have served as covers for Time and Newsweek and her unique proficiency with head shots has been sought after by the likes of Clint Eastwood and Glenn Close. Of course, assignments such as these translate into the time and money necessary to pursue other work under the artist’s own terms - but then Greenberg is best known for bringing those terms to bear on the assignment itself, sometimes to the chagrin of the subject.

When Atlantic chose Greenberg to do the photo shoot for a cover story on John McCain in the midst of his 2008 presidential run, the photographer took the opportunity to depict the longtime war enthusiast as she herself saw him, rather than in the literally flattering light by which politicians expect to be depicted for public viewing. The result was a candidate both menacing and frail; the other result was widespread condemnation by conservatives as well as those who prefer that photography always improve a candidate’s appearance rather than diminish it. Such controversy flows inevitably from Greenberg’s longtime commitment to activism, to her penchant for violating American taboos and defiling those aspects of our civic life that are too often left sacred at the expense of reason. Her End Times series drew on the raw distress of crying children as a means to illustrate the macabre ethos of fundamentalist Christianity and its murderous impact on domestic and foreign policy alike; that some of the pictures were produced by offering and withdrawing candy sparked condemnation from many of the same people who seek to force women to bear children, implicitly promise that such progeny will be cared for by a loving society, and then proudly strip child service programs from every budget within reach.

With Glass Ceiling, Greenberg returns to the set of interrelated themes that have been the focus of her career partly by inclination, partly by the necessity of personal background - femininity, the marketplace, and the uncomfortable implications of a world in which the former remains a commodity to be sold within the latter. Just as with the McCain incident and much of her work in general, this project stems from an instance of absurdity that occurred in the context of a commercial assignment. Asked to photograph members of the U.S. Olympic Synchronized Swim Team in the reasonable setting of a pool but with the unreasonable addition of high heels - itself an element that heightens sexuality while hampering ability -  Greenberg was compelled to capture the entirety of the scene. The result is a sadly relevant series of shots depicting women struggling to keep head above water in a context defined by the constraints pressed upon them by others. That such a scene was not staged by the artist but rather brought about by the circumstances of gender and the marketplace provides the set with an unfortunate poignancy that can be provided only by reality itself.

On Thu, Apr 28, 2011 at 9:34 AM, Barrett Brown <barriticus@gmail.com> wrote:
Almost done, decided to redo what I had, didn't like it.


On Wed, Apr 27, 2011 at 7:08 PM, Jill Greenberg <jill@manipulator.com> wrote:
how is it going?


Jill Greenberg Studio
8570 Wilshire Blvd. Suite 250
Beverly Hills, CA 90211
P 310.360.6260
F 310.360.6202
----------------------
www.manipulator.com

On Apr 25, 2011, at 11:42 AM, barri2009 wrote:

Good, that'll be helpful; don't think I had it.
Sent via BlackBerry by AT&T

-----Original Message-----
From: jill greenberg <jill@manipulator.com>
Date: Mon, 25 Apr 2011 11:16:16
To: <barriticus@gmail.com>
Subject: Re: art writing i like

you have this too, right? it has some repeated text sorry
and i have attached the speech i have just begun for the annenberg


here , i wrote this for my linked in bio


Since the age of 10, Greenberg has staged photographs and created characters using the mediums of drawing,
painting, sculpture, film and photography. Greenberg’s notable success with gallery and museum shows, book
publishing, commercial and editorial photography displays her unique perspective with a clear voice, which is
apparent through her distinctive lighting and personally executed postproduction.  Greenberg is known worldwide
for her uniquely human animal portraits which intentionally anthropomorphize her subjects as well as her infamous series, "End Times" which struck a nerve in its exploration of religious,  political, and environmental themes using the raw emotion of toddlers. Her newest work marks a return to the postmodern feminist theory that inspired her thesis as an art student at RISD in the 90's: "The disciplinary project of femininity" and the predetermined failure of all women who attempt to "succeed" at it. As a working photographer she travails to straddle the line between assignment work and her own personal work. On one notable occasion, a conflict arose when she was assigned to photograph the Republican candidate for presidency in 2008; after delivering the assignment exactly as requested, she chose to speak out in the form of agit prop outtakes on her own website, which she was legally allowed and morally compelled to do. The violent backlash from her political art has informed this return to the question of what is tolerated by women in our culture.




Since the age of 10, Jill Greenberg has staged photographs and created characters using the mediums of drawing,
painting, sculpture, film and photography. She is known worldwide for her uniquely human animal portraits which intentionally anthropomorphize her subjects, as well as her infamous series, "End Times" which struck a nerve in its exploration of religious,  political, and environmental themes exploiting the raw emotion of toddlers in distress. Her newest work marks a return to the postmodern feminist theory that inspired her senior thesis, "The Female Object" as an art student at RISD in the 80's: "The disciplinary project of femininity" and the predetermined failure of all women who attempt to "succeed" at it.

As a working photographer she travails to straddle the line between assignment work and her own personal work. On one notable occasion, a conflict arose when she was assigned to photograph the Republican candidate for presidency in the summer 2008, at the height of his popularity; after delivering the assignment exactly as requested, she chose to speak out in the form of agit prop outtakes on her own website, which she was legally allowed and morally compelled to do. The violent backlash from her political art has informed this return to the question of what is tolerated by women in our culture.

this is at SF moma
http://www.rsub.com/thebluedot/thenvelope/eve/fou.html
http://www.rsub.com/thebluedot/thenvelope/eve/index.html
http://www.rsub.com/thebluedot/thenvelope/eve/jill.html




jill greenberg studio, inc.
8570 wilshire blvd #250
beverly hills california 90211
310-360-6260

http://www.manipulator.com



On Apr 25, 2011, at 10:57 AM, barri2009 wrote:

Sure, I'll start on that when I get home a bit later today. Thought you wanted to discuss first but I should have everything I need now; I'll e-mail you if I have any questions. Thanks.
Sent via BlackBerry by AT&T

-----Original Message-----
From: jill greenberg <jill@manipulator.com>
Date: Mon, 25 Apr 2011 10:53:26
To: <barriticus@gmail.com>
Subject: Re: art writing i like

start on the wiki page...


jill greenberg studio, inc.
8570 wilshire blvd #250
beverly hills california 90211
310-360-6260

http://www.manipulator.com



On Apr 25, 2011, at 10:50 AM, barri2009 wrote:

Jill-

Do you want me to go ahead and start on this or did you want to speak first? I'll be around if you still want to chat via phone or e-mail this afternoon.
Sent via BlackBerry by AT&T

From: Barrett Brown <barriticus@gmail.com>
Date: Sun, 24 Apr 2011 14:53:37 -0500
To: jill greenberg<jill@manipulator.com>
Subject: Re: art writing i like

Can talk today. Go ahead.

On Sun, Apr 24, 2011 at 2:02 PM, jill greenberg <jill@manipulator.com> wrote:
when can you talk?


ceos /president of
ebay
amazon
wikipedia
youtube
facebook
myspace
paypal
twitter


fyi other people who have used my photo as their head shot:

clint eastwood
mark ruffalo
diane lane
lewis black
glenn close
jeff bezos (ceo of amazon)
alex bogusky and chuck porter (of crispin porter bogusky)
kevin reilly-NBC
eli broad
richard jenkins

BIG PEEPS i have shot
who admire my work
steven speilberg
james cameron

jill greenberg studio, inc.
8570 wilshire blvd #250
beverly hills california 90211
310-360-6260

http://www.manipulator.com



On Apr 22, 2011, at 6:09 PM, barri2009 wrote:

Certainly, I'll actually be home tomorrow so can e-mail you tomorrow evening if you like.
Sent via BlackBerry by AT&T

-----Original Message-----
From: Jill Greenberg <jill@manipulator.com>
Date: Fri, 22 Apr 2011 18:07:01
To: Barrett Brown<barriticus@gmail.com>
Subject: art writing i like

also it is significant that i work in both fine art and commercial. so my fine art can comment on the commercial work
the annenberg thing needs to have a bunch of the wiki stuff obviously
please email me on monday to discuss. i am leaving town monday night for a shoot and need to get the annenberg thing in soon.
thanks!


Begin forwarded message:

From: Jill Greenberg <jill@manipulator.com>
Date: April 22, 2011 4:26:14 PM PDT
To: Jill Greenberg <jill@manipulator.com>
Subject: Carrie mae weems writing



www.manipulator.com






--
Regards,

Barrett Brown
512-560-2302








--
Regards,

Barrett Brown
512-560-2302



--
Regards,

Barrett Brown
512-560-2302





--
Regards,

Barrett Brown
512-560-2302