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CINDY PowerPoint Presentation


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  2. THE FACTS BORN: 1954 New Jersey, USA Initially studied art and painting as soon as she left high school… …but found her expression and escapism in photography instead

  3. Cindy Sherman is her own subject in her photos; however, they are certainly not self-portraits. Sherman uses herself as a vessel of communication and comments on issues facing the modern world, especially issues affecting women. Another aspect key to understand about Sherman’s work is that she takes on roles of certain archetypes- homemaker, socialite, actress, abused woman, career woman etc. and hence removes her own identity in her photographs. By not giving her photos titles, she depersonalises them and they become the face of a category that anybody can identify with. By using herself to photograph, she does not confuse the personalities of her images. Perhaps the most novel and contradictory aspect about Cindy’s work is that she catapulted traditional photography into something never reckoned with before- cameras normally portrayed the pure truth of life, but her camera always lied. Cindy admits that although her images are meant to be a social commentary, they do have a subjective interpretation to them, as do most artist’s works.

  4. Cindy Sherman is by no means your typical photographer- she is her own main subject. Through a series of make-up, prosthetics, and wigs, she transforms herself into unrecognisable states and takes photos.

  5. DECADES OF CINDY Untitled Film Still #21, 1978 Sherman’s “Untitled Film Stills” series, features black-and-white photographs taken between 1977 and 1980, The images are reminiscent of clichés from 1950s and 60s films, such as career girl, bombshell, and housewife. 1970s

  6. Untitled #119, 1983 Sherman’s work has always had a strong influence from fashion. In 1983, her parody of typical fashion photography showcased unfashionable characters portraying goofy, hysterical, angry or slightly mad behaviour. Her odd spin on things was refreshing. 1980s

  7. 1980s Untitled #175, 1987 Macabre and grotesque narratives were prevalent in Sherman’s work in the 80s and 90s, and one can see a pattern of how she likes to add a bit of a shock factor to her creations. Personally, I think it is simply to explore her own limits.

  8. 1980s Untitled #183, 1988 Renaissance, baroque, rococo and Neoclassical are art-historical themes borrowed by Cindy in her history series of portraits.

  9. 1990s Untitled #264, 1992 The early 90s only emphasised the bizarre way Cindy arranged her images. For this series, she bought dolls from medical-supply catalogues and arranged them in positions suggestive of pornography.

  10. 2000s Untitled #359, 2000 In this series consisting of head-shots, Cindy posed as people who would be trying out for acting jobs. The images represent a tiredness that exists within the industry.

  11. 2000s Untitled #424, 2004 Sherman’s clown series is a double-layered mix of comic façade and hidden emotions. Clowns are an ideal vessel for this type of contradiction.

  12. 2000s Untitled #463, 2007-08 This series is demonstrative of the struggle women endure with the unrealistic standards of beauty that are prevalent in a youth- and status-obsessed culture.

  13. 2000s Untitled #474, 2008 Sherman’s 2008 society portraits were influenced by different characters existing within the social realm. The image featured here is said to have been based on a former soap opera actress who created a website for aging women who needed tips to regain their femininity.

  14. Untitled #512, 2011 Sherman’s latest work is demonstrative of how we are now enveloped in a digital era- instead of her usual make-up and prosthetics, Cindy relies on Photoshop to create her desired effects. 2010s

  15. CINDY’S FINEST (READ- STRANGEST) Untitled 157 1987,Untitled (Doll with Mask)

  16. Cindy Sherman for MAC Cosmetics 2011

  17. Untitled #96, 1981 This image, part of Sherman's centerfolds series, sold for $3,890,500 in May 2011, making it the most expensive photograph ever sold. It held that record until November 2011.

  18. In 2011, Cindy was voted as one of Glamour magazine’s Woman of the Year. Due to her enduring sense of trueness to self, and massive accomplishment in the art world, Cindy is a woman who is the very epitome of taking ordinary to extraordinary. Some describe her as a feminist, a title she herself does not ascribe to, but it is undeniable that she is a female force to reckon with. From starting out as playing dress-up as a kid, to making it a lifelong career, Cindy is anything but boring.

  19. CINDY SAID… On the difficulty of photographing herself:  “What gets harder is the goal of trying to seem somewhat different. And that was another reason why, when I was doing some of these characters, I wasn't that happy with them, because I thought they reminded me of other characters I've done. Or I saw too much of myself in some of them. To me, it's a little scary when I see myself”

  20. "I think people are more apt to believe photographs, especially if it’s something fantastic. They’re willing to be more gullible. Sometimes they want fantasy. Even if they know it’s fake they can believe anything. People are accustomed to being told what to believe in.“ • "When I do work, I get so much done in such a concentrated time that once I’m through a series, I’m so drained I don’t want to get near the camera.“ • "If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already.. the challenge is more about trying to make what you can’t think of."

  21. REFERENCES • • • • • • • • • • • • • • • •