Cindy sherman artist statement Rating:
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Cindy Sherman is a contemporary American artist known for her conceptual portrait photography. She has gained widespread recognition for her series of self-portraits in which she explores various roles and identities through the use of costume, makeup, and props.
In her artist statement, Sherman discusses the motivation behind her work and the concepts she aims to explore. She explains that her photographs are not intended to be traditional portraits, but rather a commentary on the construction of identity and the role of the media in shaping our understanding of ourselves and others.
Sherman's photographs often feature herself as the subject, but she transforms herself through the use of various costumes, makeup, and props to create a wide range of characters and personas. She is interested in the way that these visual cues can influence the viewer's perception of the subject and the way that they are perceived by society.
Sherman's work can be seen as a critique of the media and its influence on our understanding of identity. By presenting herself in a variety of different roles, she highlights the artificiality and constructed nature of identity. Through her photographs, Sherman encourages viewers to question the way that they perceive themselves and others, and to consider the role that the media plays in shaping our understanding of identity.
Overall, Cindy Sherman's work is a thought-provoking exploration of the construction of identity and the influence of the media on our understanding of ourselves and others. Through her artist statement and her photographs, she invites viewers to consider the ways in which identity is shaped and presented, and encourages them to question the cultural narratives that shape our understanding of ourselves and others.
Inside Cindy Sherman’s Life and Blockbuster Retrospective at MoMA
He paints his figures upside down, a characteristic that he is known for. Chromogenic color print 2004 Untitled Sherman poses as a sad, or pathetic clown for some of her more recent works. Retrieved March 5, 2020. The rather direct focus of the clown's eyes suddenly prods us to ask ourselves why we find such a figure humorous, and if the reasons behind our common laughter may in fact be traced to a cruel truth of human behavior normally left unquestioned in everyday reality. Cindy Sherm Stereotypes And Representations Of Women up always use to play dress up in clothes as a childhood past time for fun.
Other early works involved cutout figures, such as the Murder Mystery and Play of Selves. But now I can look back on some of them, and I think some of them are a little blatantly obvious, too much like the original pin-up pictures of those times, so I have mixed feelings about them now as a whole series. Retrieved March 5, 2020. I try to put double or multiple meanings into my photos, which might give rise to a greater variety of interpretations. The medium for this series is color coupler print. In Fairy Tales, 1985, and Disasters, 1986—1989, Cindy Sherman uses visible prostheses and Sex series in 1989. Others, understand Sherman's approach as critically-ironic parody of female stereotypes.
The fact that she would sometimes show up for work dressed as, say, a nurse, or in a pinkish suit Ă la Jackie Kennedy, but frumpier, with cat-eye glasses on, is now part of art-world lore. With wetted hair and a tensed position, she appears as if she just walked off the set of a horror film. Color photograph - Metro Pictures Childhood Cindy Sherman was born January 19, 1954 in Glen Ridge, New Jersey virtually a suburb of New York City. Each photo measures two feet by four feet. There are important differences between art and other asset classes. Retrieved March 15, 2019.
Retrieved March 5, 2020. Retrieved May 3, 2018. Retrieved November 20, 2020. Creative Camera: Thirty Years of Writing. The ultimate participant-critic of mass consumer culture, one perpetually partaking of its daily realities while nonetheless challenging its underlying assumptions, Cindy Sherman epitomizes the 1980s technique of "image-scavengering," and "appropriation" by artists seeking to question the so-called truth potential of mass imagery and its seductive hold on our individual and collective psyches.
Retrieved March 5, 2020. Sherman transitioned from black and white to color photography and has always preferred to shoot film. Diversification and asset allocation do not ensure profit or guarantee against loss. She is, typically, at first suspicious of the metropolitan lights and shadows, only to be eventually seduced by its undeniable attractions. There is no knowing whether a subsequent series shot from 1985 to 1989, Disasters and Fairy Tales, was in some sense a response to that act of rejection, but, notably, it is a much darker endeavor than its prettified predecessor. Number 209 is, while not an exact replica of the Mona Lisa, the viewer can immediately see the connection.
When I look at the pictures, I never see myself; they aren't self-portraits. Also in February, Hatje Cantz, in cooperation with the Sammlung Verbund Vienna, published a catalogue raisonne of formative early works produced by Sherman between 1975 and 1977. She, then, started to paint. As a person, Sherman can seem casual—but never her pictures. Retrieved March 5, 2020.
In her landmark photograph series Untitled Film Stills, 1977—80 , Sherman appears as B-movie and film noir actresses. Such artists extend Sherman's anti-narrative approach to the medium and its subject matter, in work that frequently suggests unresolved stories and scenarios wrenched from contexts both common and disturbingly mysterious. Sherman was awarded an honorary doctorate from the She has won multiple awards These include the Larry Aldrich Foundation Award 1993 ; Wolfgang Hahn Prize 1997 ; Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts 2005 ; American Academy of Arts and Sciences Award 2003 ; National Arts Award 2001 ; and the Roswitha Haftmann Prize 2012. Wearing elaborate make-up and fanciful costumes, she positions herself in front of digitally manipulated backgrounds, against which she explores the extremes of the clown character - its intense, yet superficial humor, its implied sadness, and its potential, subliminal rage. Paradoxically, it is because there is no explicit citation of theory in the work, no explanatory words, no linguistic signposts, that theory can then come into its own. Sherman has her art work showcased Sherman is clearly an independent woman in life.
Retrieved March 5, 2015. She made her directorial debut with the thriller, Office Killer, starring Molly Ringwald and Jeanne Tripplehorn. . Skarstedt Fine Art, 2004. Over the last decade, Sherman dons clown's make-up in a series of still photography 2003 and, even more recently, she explored carefully staged female "suburban" identities in a solo show at Metro Pictures, NY 2008. Donning a 15 th-century Italianate dress, Sherman allies herself with one of art history's most famous, iconic paintings. Rotterdam: Museum Boijmans Van Beuningen.
Using prosthetic body parts and mannequins Sherman became a hybrid of human and the artificial in the Sex Pictures, appearing grotesque, contrived and humorous all at once. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model. Retrieved March 5, 2015. Retrieved July 5, 2013. Each image is built around a photographic depiction of a woman.
The portraiture itself looks like the promotional stills that would be used to advertise those films. For once she removed herself from the shots, as these photographs featured pieced-together medical dummies Between 1989 and 1990, Sherman made 35 large, color photographs restaging the settings of various European portrait paintings of the fifteenth through early 19th centuries under the title History Portraits. Cindy Sherman: Imitation of Life. Shortly after Cindy's birth, the family moved to Huntington, Long Island, where Cindy grew up as the youngest of five children. The New York Times. Sherman's work is central in the era of intense consumerism and image proliferation at the close of the 20th century.
