Cindy Sherman Untitled Film Still 54. Cindy Sherman For Mac
In fall 1977, Sherman began making pictures that would eventually become her groundbreaking “Untitled Film Stills.” Over three years, the series (presented here in its entirety) grew to comprise a total of seventy black-and-white photographs. Through her photographs, Cindy Sherman examines women’s roles in society and questions the ways in which the viewer looks at and identifies with the women she portrays. Born in Glen Ridge, New Jersey, in 1954, Sherman graduated from the State University of New York, Buffalo, in 1976.
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From The Broad Collection: Cindy Sherman, Untitled Film Still #54, 1980, gelatin silver print, The Broad Art Foundation. Artwork title Untitled Film Still #7 Artist name Cindy Sherman Date created 1978 Classification photograph Medium gelatin silver print Dimensions 10 in. (25.4 cm x 20.32 cm). Cindy Sherman is known for identity-morphing “self-portraits” that explore female character types. Since her days as a student in Buffalo in the mid-1970s, Sherman has been taking increasingly flamboyant photographs of herself in staged environments, transforming her appearance with costumes, makeup, wigs, and props.
Untitled Film Still #13 (1978) Artwork description & Analysis: Untitled Film Still #13 issues from Sherman's epic 'Untitled Film Still' series (they did not actually derive from a larger movie) of the late 1970s, by which she first made a widespread reputation for herself as a witty commentator on the female role models of her youth, as well as those of an earlier generation. In this example, Sherman employs her own image as to suggest the central character in a 1960s 'coming of age' romance, the young female intellectual on the verge of discovering her 'true womanhood,' or the prototypical virgin. Maturing in the 1970s in the midst of the American Womens' Movement, later known as the rise of Feminism, Sherman and her generation learned to see through mass media cliches and appropriate them in a satirical and ironic manner that made viewers self conscious about how artificial and highly constructed 'female portraiture' could prove on close inspection. Black and White photograph - The Museum of Modern Art. /best-pdf-compression-app-for-mac.html.
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Cindy Sherman Biography
p5gcmx 1333 network drivers for mac Untitled Film Still #21 (1978) Artwork description & Analysis: When the Museum of Modern Art announced in 1996 that it had just acquired Sherman's complete Untitled Film Still series, the curators knew they had laid claim to one of the most representative works of the early 1980s American movement of 'appropriation,' and 'simulationism.' Both terms refer to American artists' mimicking, in the first half of the 1980s, former art masterpieces or widely circulating images in the mass media, and critically reworking them to arouse a sense of unease in the viewer, indeed often suggesting that culture had become largely a game of theatrical posing and egoistic pretense. As Peter Galassi, then-curator of photography stated, 'Sherman's singular talent and sensibility crystallized broadly held concerns in the culture as a whole, about the role of mass media in our lives, and about the ways in which we shape our personal identities. Here, Sherman takes on the role of the small-town girl just happening upon the Big City.
She is, typically, at first suspicious of the metropolitan lights and shadows, only to be eventually seduced by its undeniable attractions. Black and White photograph - The Museum of Modern Art. Untitled, 'Sex Pictures' Series (1983) Artwork description & Analysis: Intended by the artist to shock the unsuspecting viewer, the Sex Pictures series features anatomical dolls arranged in compromising positions.
Set clearly apart from actual pornography, the photograph cruelly comments on the greater dehumanization of women in life, as well as in art since time immemorial. Her space is claustrophobic, the body little more than a tool of raw desire, while the accoutrements of 'beauty,' such as hairbrush, skimpy panties, and the like, are strewn haphazardly around her. Once again, Sherman extracts certain conventions from their usual contexts, where they are often obscured by a host of attendant desires, and baldly reframes them as objects of intense, analytical attention. The effect is something that neither a medical investigation nor a political speech could convey with such vivid precision. Sherman suddenly 'makes strange' the everyday, or the familiar, in ways that suggest we often trod through our lives while sleepwalking. Color photograph - The Estate of Jean-Michel Basquiat.
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