prosthetic knowledge
-
Artist Cindy Sherman models for make-up company MAC Cosmetics via The Guardian
… In her photographs, she uses makeup to transform herself, becoming simultaneously obscure and mesmerising. One moment she is Marilyn Monroe, the next a woman lying dead and gravel-grazed in a road – the next a creature with a woman’s hands and a pig’s snout.
Sherman isn’t always grotesque, but her photos are rarely less than disturbing. And she hasn’t toned it down for MAC. The images show her with the purple, distended lips of an unhappy rich woman, as a bubble-haired, morosely hopeful clown, and an elfin girl with creepily distorted features – her mouth extending to form the frightful hint of a Chelsea smile.
Most makeup campaigns, unsurprisingly, use beautiful models to impress upon women how wonderful the cosmetics will make them look. Also, to make them feel inferior, ugly, and more likely to reach for their purse.
-
Doll Clothes by Cindy Sherman (1975) via UBU Web
Super-8 black and white film transferred to video, silent
2min, 22sec
installation
One of the First Cindy Sherman’s super-8 film,”Doll Clothes” has not been viewed since 1975, the year it was made. It comically crosses Duchamp’s Nude Descending a Staircase with animated paper dolls in a sly, funny and clever precursor to the concerns that became signature elements in Sherman’s remarkable body of photographic work.
Purchased with assistance from the American Patrons of Tate, using funds raised by a group of private collectors including Kathy and Richard S Fuld Jr, Monica Kalpakian, and Steve and Lisa Tananbaum 2008
“Sherman’s 1975 animated short Doll Clothes, is among the pieces that bring Sherman’s early exploration of gender and identity into focus.” — Paul Ha and Catherine MorrisI like the last 20 seconds of the film, where all the character frames are arranged next to each other as a little performance in itself.
-
Cindy Sherman: Characters | Art21 “Exclusive”
Episode #139: Cindy Sherman reveals how dressing up in character began as a kind of performance and evolved into her earliest photographic series such as “Bus Riders” (1976), “Untitled Film Stills” (1977-1980), and the untitled rear screen projections (1980).
In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives lived out of frame. Shermans investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology and the latest advances in digital photography.
Learn more about Cindy Sherman at: http://www.art21.org/artists/cindy-sherman -
Untitled Film Still #25, 1978 by Cindy Sherman
Via ( + darksilenceinsuburbia)
-
Cindy Sherman (via referenceartgallery)
-
Cindy Sherman | Working girl (via 42andpointless)
I know you are but who am I?
-
Cindy Sherman: Transformations [excerpt, artnewyork.org](via innertubevideo)
This excerpt is a slideshow with narration of some of Shermans’ early Film Stills series.
Her concept of taking self portraits in the role of a cliche ‘role’ in media - here, women in cinema - has been adapated endlessly, but it must have seemed bizzare then when ideas about mass media and identity formation were still emerging.
via mkarmstr
