The personae she created range from ingenue lost in the big city to martini-wielding party girl to jilted lover to hausfrau. In photograph after photograph, Sherman was ever present, and yet never really there—her ready adaptation of a range of personae highlighting the masquerade of identity. A mechanical device for controlling the aperture, or opening, in a camera through which light passes to the film or plate. Both images raise questions around the issue of female identity. All the others are inventive allusions to generic types, and so our sure sense of recognition is all the more telling. This record is a work in progress. Sherman casts herself in each of these roles, becoming both the artist and subject in the work.

Emerging from the dirt are the nose, lips, and red-painted fingertips of a blonde, apparently female, victim. What is similar about the images and what is different? Views Read Edit View history. Among the others are the luscious librarian 13 , the chic starlet at her seaside hideaway 7 , the ingenue setting out on life’s journey 48 , and the tough but vulnerable film noir idol Buy from the Design Store. Her appropriation of the space on both sides of the lens destabilized the traditional opposition between artist and model, object and subject—one that had been theorized by film critics in terms of spectatorship and its gendered codes of looking. Cindy Sherman February 26 — June 11 , 9 other works identified.

The way a figure is positioned. Buy from the Design Store.

These photographs are often used as advertisements or posters for the film. Your email address will not be published. The artist poses in various stereotypical female roles inspired by ‘s and 60’s Hollywood, Film noirB moviesand European art-house films.


Modern Classics: Cindy Sherman – Untitled Film Stills, | artlead

Cindy Sherman – Untitled Film Stills 10, Additional text from Seeing Through Photographs online course, Coursera, Watch Transformation on PBS. There are so many levels of artifice. Museum of Modern Art Learning s. This gender ambiguity, along with the way the unusually lit sti,ls emerges from the black background, yields an unsettling sensation.

MoMA Learning

Press release 2 pages. By photographing herself in such roles, Sherman inserts herself into a dialogue about stereotypical portrayals of women.

Untitled Film Still 21 for example, reminds of a scene from an outdated television show or movie, with the woman in the picture as leading heroine, wearing a vintage s outfit and looking captivated by something outside the frame.

Cindy Sherman – Untitled Film Stills 44, Write a brief one-page description of your character. Untitled Film Still, 15 depicts the tough girl with a heart of gold.


Cindy Sherman’s Untitled Film Stills

I had to fill in the blanks for myself, in an experience that has remained with me ever since. Cindy Sherman Untitled Film Still 21 Cindy Sherman February 26 — June 119 other works identified.

More information is also available about the film collection and the Circulating Etills and Video Library. By opening and closing for different amounts of time, the shutter determines the length of the photographic exposure. Cindy 197-80 – Untitled Film Stills 47, Emulating the signifiers of the centerfold, the closely cropped photographs reveal a body that is available to the camera and bathed in a vivid light.

Many Guises, Many Helpers: Standardized and oversimplified assumptions about specific social groups. The Museum of Modern Art, revisedoriginally publishedp. He first moved to Los Angeles in Cindy Sherman Untitled 96 If the Untitled Film Stills elicited debate concerning the construction of untiitled, the photographs Sherman made throughout the mids served to perpetuate this discourse.


In Untitled Film Stillsbut also in all her later series, it is always Sherman herself who is in front of the camera. If the Untitled Film Stills elicited debate concerning the construction of woman-as-image, the photographs Sherman made throughout the mids served to 9177-80 this discourse. It left me guessing.

The sense of foreboding elicited by earlier works is more overt, suggesting the flm of horror films a genre that significantly focuses on female victims. Together with a group of young artists — including Robert Longo, Barbara Kruger, Sherrie Levine, Richard Prince and Louise Lawler — Sherman was critical about contemporary image culture and the rise of ztills consumerism that both drove emerging mass media like television and was celebrated in it.

Cindy Sherman – Untitled Film Stills 28, The artist Robert Longo, with whom she lived at that time, assisted her for a while, as well as her father, other family members, and friends.

You may use these HTML tags and attributes: Cindy Sherman Untitled A discarded Polaroid photographic sitlls suggests documentation either by a police officer or perhaps the villain, whose reflection appears in an open makeup compactand obliquely implicates the artist as photographic voyeur.

If you would like to reproduce text from a MoMA publication or moma. Views Read Edit View history.