Jill Greenberg borrowed the name “Manipulator” from the 80’s German large format culture magazine, “The Manipulator”.
It was one of the many pop culture influences along with “The Face”, “Interview”, and “W” which wallpapered her bedroom walls in high school.
Greenberg has been manipulating her images manually as well as digitally since 1983 and 1990, respectively. Recently she decided to use the jillgreenberg.com url since most of her work is achieved in camera.
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. These subjects are explored in “Glass Ceiling” as well as “Horses”.