Kirjahaku

The perfect introduction to the life and work of Cindy Sherman.

Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clich s.Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp.In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.

Published to accompany the first major survey of Cindy Sherman’s work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist’s 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman’s sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal ‘Untitled Film Stills’ (1977–80); ‘Centerfolds’ (1981); ‘History Portraits’ (1989– 90); ‘Headshots’ (2000); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An introductory essay by curator Eva Respini provides an overview of Sherman’s career, weaving together art historical analysis and discussions of the artist’s working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman’s work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provide an enlightening view into the creative process.

This book, which accompanies a major exhibition at the National Portrait Gallery, considers Cindy Sherman’s oeuvre through the lens of portraiture. Featuring key examples of her work – from her earliest photographs through to her most recent – it explores the mercurial relationship between appearance and reality Cindy Sherman is among the most influential artists of her generation. Using herself as model, wearing a range of costumes and portraying herself in invented situations, she interrogates the imagery employed by the mass media, po pular culture and fine art. Television, advertising, magazines, fashion and Old Master paintings all form part of her visual language. Whether using make-up, costumes, props and prosthetics to manipulate her own appearance, or devising elaborate tableaux, her entire body of 40 years’ work constitutes a highly distinctive response to contemporary and earlier culture, whose stylistic tropes she appropriates and quotes. This book will explore the rich cultural sources that Sherman plunders in creating provocative and ambiguous images that lead us to question the things we see. Sherman’s work is surveyed through two related themes. Examining Sherman’s art within the context of portraiture it explores the way that identity is constructed from appearance. It also considers the nature of Sherman’s involvement with a range of styles by positioning her work in the context of the pre-existing imagery that she appropriates.

"Cindy Sherman's work is structured into series, the best known of which are History Portraits and Untitled Film Stills (1977-1980), which led to Cindy Sherman's artistic breakthrough. In History Portraits, the artist carries out radical transformations of Old Master paintings. Using make-up, cloth drapes, and prostheses, she photographs herself in the poses in which the Old Masters portrayed women. Christa Schneider presents an art-historical analysis of the History Portraits. Identifying a clear model for every single portrait (e.g. Botticelli and Rubens, Fran ois Boucher and Jacques-Louis David), she reveals Sherman's extremely precise and enigmatic method of working in which the artistic media employed by Sherman--photography and acting--are surprisingly compatible with painting."

For almost 50 years, the theme of fashion has been a constant in the work of US artist Cindy Sherman. The exhibition Cindy Sherman - Anti-Fashion is the first to focus on this close engagement with fashion and approaches her photographic oeuvre from a new perspective. In so doing, it sheds light on the interplay between art and fashion. For Sherman uses her numerous commissions from magazines and her collaborations with renowned designers as a constant source of artistic inspiration. The exhibition reveals the subject of fashion as the starting point for the artist's critical investigation of gender, stereotypes, and our attitude to aging. The wide range of Sherman's assumed characters highlights the artificiality and changeability of identity, which - now more than ever - is shown to be selectable, (self-)constructed, and fluid.

For almost 50 years, the theme of fashion has been a constant in the work of US artist Cindy Sherman. Cindy Sherman – Anti-Fashion is the first to focus on this close engagement with fashion and approaches her photographic oeuvre from a new perspective. In so doing, it sheds light on the interplay between art and fashion. For Sherman uses her numerous commissions from magazines and her collaborations with renowned designers as a constant source of artistic inspiration. This book reveals the subject of fashion as the starting point for the artist’s critical investigation of gender, stereotypes, and our attitude to aging. The wide range of Sherman’s assumed characters highlights the artificiality and changeability of identity, which – now more than ever – is shown to be selectable, (self-)constructed, and fluid. Text in English and Dutch.

When curators at Saint Louis's Contemporary Art Museum asked Cindy Sherman whether there was a moment in her career whose resonance might be underappreciated, one around which she might like to develop an exhibit and a book, she selected her earliest adult creative years, beginning while she was still a student at Buffalo State College in the mid-1970s. Working Girl is full of rarely seen pieces, and it features, for the first time, documentation of and stills from Sherman's 1975 animated short Doll Clothes, which is among the pieces that bring Sherman's early exploration of gender and identity into focus. The mostly small-scale work, including many early black-and-white, hand-colored, and sepia-toned photographs, is culled primarily from the artist's family members' collections and her own, and includes the pieces that laid the groundwork for her first major success, the acclaimed Film Stills series. Working Girl is a unique glimpse into the early development of Sherman's artistic practice, and into the genesis of her inimitable substance and style. It illuminates her conceptual approach to photography and foretells the career that would be launched in the late 1970s, positioning her as one of the most significant artists of our time.

One of the twentieth century’s most significant artists, Cindy Sherman has quietly uprooted conventional understandings of portraiture and art, questioning everything from identity to feminism. Critics around the world have taken Sherman’s photographs and extensively examined what lies underneath. However, little critical ink has been spilled on Sherman’s only film, Office Killer, a piece that plays a significant role both in Sherman’s body of work and in American art in the late twentieth century. Dahlia Schweitzer breaks the silence with her trenchant analysis of Office Killer and explores the film on a variety of levels, combating head-on the art world’s reluctance to discuss the movie and arguing instead that it is only through a close reading of the film that we can begin to appreciate the messages underlying all of Sherman’s work.

This publication presents a new body of work by Cindy Sherman—artificial sitters constructed through digital manipulation and collage of the artist’s own face—while offering an intimate glimpse into Sherman’s studio process through a series of diary entries by the artist.This publication features a brand new body of work by Cindy Sherman that continues her explorations of the genre of portraiture going back to her early work of the 1970s. Across thirty-six photographs, the artist collages parts of her own face to construct the identities of various sitters, using digital manipulation to accent the layered aspects and plasticity of the self. The book also includes a text by Sherman chronicling her process in the studio, offering an intimate glimpse into her thinking about the work.

This small, gorgeously designed and carefully edited book--available in grey and beige cloth--presents all 20 photographs of a new body of work that Cindy Sherman completed in 2016. In these photographs, reminiscent (conceptually but not formally) of her earlier Film Stills, Sherman enacts variations on the theme of aging Hollywood actresses of the 1920s.The series was inspired by her interest in early German Expressionist silent movies, which led her to further studies of the first wave of the Hollywood star system in the 1920s.Here, Sherman's "actresses" are presented in the style of studio publicity shoots, against backgrounds that were carefully composed for each of the characters. With heavy make-up, elaborate hairdos, precisely chosen and arranged wardrobe and dresses, Sherman creates female characters that provoke a rich array of cultural associations.

This volume explores how and why the second half of the 20th century proved such a fruitful moment for the ascendance of photography. It investigates pop art, conceptual art and emerging photo-based art forms such as film and television through the lens of fine-art photography and vernacular photography. In addition to an essay on the ill-fitting place of photography in art historical surveys of the 1960s and '70s, the book also includes essays by scholars and collectors reexamining more specialized outlets for photography. These include explorations of the use of collage, the brief fashion craze of paper dresses and the significance of television programing and news photography as source material for art production. Artists include: John Baldessari, Nan Goldin, Robert Heinecken, Andrej Paruzel, Hiromi Tuschida, Nam June Paik and Martha Rosler.

Examensarbeit aus dem Jahr 2006 im Fachbereich Kunst - Installationen, Aktionskunst, 'moderne' Kunst, Note: 1,0, Gottfried Wilhelm Leibniz Universität Hannover (Institut für gestaltungspraxis und Kunstwissenschaft), 17 Eintragungen im Literaturverzeichnis, Sprache: Deutsch, Abstract: inleitung In der vorliegenden Arbeit werde ich mich mit der Relevanz medienspezifischer Aspekte, anhand von insgesamt vier Werkbeispielen zweier Künstlerinnen der aktuellen Medienkunst auseinandersetzen. Ich habe mich nach umfassender Information, bzw. eingehender Betrachtung unterschiedlicher Arbeiten, für die Künstlerinnen VALIE EXPORT und Cindy Sherman entschieden. Der Grund, warum der Name der erstgenannten Künstlerin in Versalien geschrieben wird, soll im nachfolgenden Kapitel geklärt werden, war aber durchaus ein interessanter Anhaltspunkt für meine Auswahl. Ich habe mich bei den Arbeiten beider Frauen bewusst für die sogenannten Frühwerke entschieden, da ich der Auffassung bin, dass besonders in den Anfängen des künstlerischen Schaffens der Künstlerinnen viele originäre Ideen und Intentionen zu entdecken sind, die vielleicht in späteren Werken, aufgrund einer entwicklungsbedingten, größeren Abgeklärtheit, gewichen sein könnten. ...Aber ich glaube das war einfach Glück, oder so was wie Intuition, etwas, woran ich heute nicht mehr glaube. Dazu bin ich wohl zu abgeklärt.1 Die ausgewählten Aktionen VALIE EXPORTS Cutting und Tapp und- Tastkino, die Ende der 1960er Jahre entstanden sind, empfinde ich als besonders interessant, da sich dem Betrachter ihre Aussagen nicht auf den ersten Blick erschließen, aber hauptsächlich, weil EXPORT bisher tabuisierte Themen aufgreift und im öffentlichen Kunstraum demonstriert. Ihre Wege Elemente der Medien in ihre Kunst zu integrieren, oder besser, inwiefern sie durch diese Darstellungsformen ihre Kunst ausdrückt, werde ich im zweiten Kapitel der Arbeit untersuchen. Selbstverständlich soll auch die Aussagekraft der Kunst EXPORTS behandelt werden, im Besonderen ihre Form der Darstellung weiblicher Wirklichkeitswahrnehmung und deren Wirkungsweise beim Betrachter; allerdings werden ihre feministischen und politischen Intentionen nicht den Schwerpunkt meiner Arbeit bilden, sollten aber im Zusammenhang mit dem künstlerischen Schaffen VALIE EXPORTS erläutert werden. [...]