Cynthia Morris

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Cindy Sherman additionally known as Cynthia Morris was born on the nineteenth of January, 1954, in Glen Ridge, New Jersey. Shortly Cindy’s family moved to Huntington, Long Island, where Cindy grew up as the youngest of 5 children. Sherman chose to study artwork in college, enrolling at the State University of New York, at Buffalo, in the early 1970s.
Sherman is considered a current expert on social photography. Photography is defined the science, art, application, and exercise of creating durable images by recording light or other electromagnetic radiation, either electronically the use of an image sensor, or chemically using a light-sensitive material such as photographic film. Sherman had a greater considerable interest in portray during his early days at the university but later shifted his attention to photography. Her bias towards photography was influenced by the fact that he wanted to assume certain female roles in the photography works (Butler and Lisa 28-38 ). She attempts to interrogate the role of the media in the subjection of lives of people to oppression both as individuals and as a community. She found a lot of fantasy and happiness in self-photography and attracting the attention of the audience through her beautiful photography works. Some of the works she produced communicated specific themes affecting human life such as fashion and sexual desires.

Early Training

At the state university of New York, Sherman had intended to pursue painting, but change mind from what she considered frustration from the limitation of the medium. The painters of the 1970s were working under minimalism, and Sherman felt that there was nothing more to say through painting.she had initially failed the photography course but chose to repeat the subject where she passed rejuvenating her passion for the course.During studies, she mates other artists such as Robert Longo and Charles Clough. While both Cindy Sherman and Robert Longo employ filmmaking in their art, Cindy productions are realistic, while Longo’s production is a balance between reality and fiction and he struggles in balancing between the two. Charles Clough artwork is painting, but is involved in the production of picture works just like Cindy Sherman. The difference is while Sherman focuses on human photography, Maclough produces images of humans and all aspects of nature (Warr and Amelia 88). Together with the artists, they cofounded Hallwalls Centre for Contemporary Art in 1974. The production of high fascinating photography works influences one to pursue art and try to mimic the artists Sherman was exposed to Conceptual art and other progressive movements and media during her studies under the patronage of Barbara Jo Revelle.

Sherman moved to New York City to practice her artistic career upon graduation. In 1977, Sherman began taking a series of photographs of herself downtown residential and studio loft.She refers to this project the Untitled Film Stills (Morris 5-11). In the series, she embodies the character of “Everywoman.” She re-fashions herself repeatedly into the guise of various female archetypes, Sherman played the film noir siren, the girly pin-up, the noble damsel in distress, the prostitute, and the housewife(Butler and Lisa 28-38). Using herself repeatedly in the archetypes makes the artwork boring. Sherman secured a chance in the New York art world with the debut of Untitled Film Stills, which led to her first solo show at the non-profit exhibition space, referred to as The Kitchen. She was commissioned shortly afterwards to create an image for Artforum magazine. Pink-robe-clad Sherman photos were ultimately considered too racy by Ingrid Sischy, an editor and subsequently rejected. It is not known whether a subsequent series shot from 1985 to 1989, referred to as Disasters and Fairy Tales was a response to that act of rejection. It is a much darker endeavor than its prettified predecessor. Its dark palette and scenes strewn with vomit and mold challenged viewers to find beauty in the ugly and the unqualified grotesque(Morris 5-11).

Legacy

Cindy Sherman is an epitome of the 1980s technique of “image-scavengering,” and “appropriation” by artists that try to question what is termed as the truth potential of mass imagery and its seductive hold on collective and individual psyches. Her depersonalized approach to portrait photography, in a new, socially critical capacity for a medium that was presumed a tool of documentary realism.This quality of the critically applied photography turned into something more conceptually problematic, if not psychologically disturbing, characterizes much work of a new generation which defies easy categorization.

Sherman’s work has been cited as opening onto a new, “expanded field” of photography since the late 1990s, in much work characterized by a “fusion of narrative and stasis.” An example is the photography of Jenny Gage, Jeff Wall, Anna Gaskell, Sharon Lockhart and Justine Kurland(Morris 5-11).These artists attempt to 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 familiar and disturbingly mysterious.

Photography works

Shermans works mostly revolve around self-photography.She takes her pictures by herself in a studio she established while at the same time assuming numerous feminist roles to communicate certain themes (Morris 5-11). He uses a range of materials in his works. The most commonly used materials are chromogenic color print and gelatin silver print (Morris 5-11).In one of the conversations, Sherman was quoted explaining to the New York Times in 1990that, “I feel I’m anonymous in my work. When I look at the pictures, I never see myself; they aren’t self-portraits. Sometimes I disappear,” (Morris 5-11).

Cindy Sherman’s Portrait

Title: Untitled Film Still #21

Date: 1977,

Size: 19.1 x 24.1 cm

Media: Gelatin silver print

Location: The Museum of Modern Art

Images of Artwork created by Cindy Sherman

Title: Untitled #153

Date: 1985

Medium: Chromogenic color print

Size: 170 cm × 120 cm(67 in × 49 in)

Location: Nathan Keay, © MCA Chicago

Title: Untitled #96

Date: 1981

Medium: Chromogenic color print

Size: 61 cm × 120 cm (24 in × 48 in)

Location: Centrefold series

Title: Untitled

Date: 1980

Media: Chromogenic print

Size:(60.8 cm × 40.6 cm)

Location: From a collection of Museum of Fine Arts, Houston

Title: Untitled Film Still #16

Date: 1978

Media: Gelatin silver print

Size: (203.2 in × 254 in)

Location: The Nelson-Atkins Museum of Art

Title: Untitled Film Still #30

Date: 1979

Media: Gelatin silver print

Size: 30 in. x 40 in. (76.2 cm x 101.6 cm)

Location: https://www.sfmoma.org/artwork/92.119

Works Cited

Butler, Cornelia, and Lisa Gabrielle. WACK!: art and the feminist revolution. Los Angeles, CA: Museum of contemporary art, 2007.

Morris, Catherine. Cindy Sherman. Wonderland Press, 1999.

Warr, Tracey, and Amelia Jones, eds. The artist’s body. London: Phaidon, 2000.

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