Sherman, Cindy - Fotografia
Untitled, 1975
Photograph, gelatin silver print
43.2 x 30.5 cm (17 x 12 in.)
Museum of Fine Arts, Boston
Untitled Film Still #3. 1977
Gelatin silver print
7 1/16 x 9 7/16" (18 x 24 cm)
The Museum of Modern Art, New York City
Still from an Untitled Film, 1978
Gelatin silver print
18.7 x 23.9 cm (7 3/8 x 9 7/16 in.)
The Metropolitan Museum of Art, New York City
Untitled Film Still #16, 1978
Untitled Film Still #7, 1978
Gelatin silver print
9 1/2 x 7 9/16" (24.1 x 19.2 cm)
The Museum of Modern Art, New York City
Untitled Film Still, #15, 1978
Gelatin-silver print
9 3/8 x 7 7/16 inches. Edition 2/10
Guggenheim Museum, New York City
Untitled, 1978–93
Photograph, sepia-toned gelatin silver print
35.6 x 27.9 cm (14 x 11 in.)
Museum of Fine Arts, Boston
Untitled Film Still #36, 1979
Gelatin silver print
9 7/16 x 7 9/16" (24 x 19.2 cm)
The Museum of Modern Art, New York City
Untitled film still, 1979
Art Gallery of New South Wales, Sydney, Australia
Ice Skater, 1979
Gelatin silver print
7 x 4 3/4" (17.8 x 12 cm)
The Museum of Modern Art, New York City
Untitled Film Still #34, 1979
Black-and-white photograph, AP 2/2
edition of 10 + 2 Aps, 10 X 8 in
Armand Hammer Museum of Art at UCLA, California
Untitled film still, 1979
Gelatin silver photograph
17.0 x 23.2cm image; 20.3 x 25.3cm sheet
Art Gallery of New South Wales, Sydney, Australia
Untitled, 1980
Photograph
type C photograph
40.0 x 59.9cm image; 50.6 x 60.8cm sheet
Art Gallery of New South Wales, Sydney, Australia
Untitled Film Still #53, 1980
Untitled #76, 1980
Untitled Film Still #65, 1980
Gelatin silver print
10 x 8 in. (25.4 x 20.3 cm)
The Museum of Contemporary Art, Los Angeles
Untitled #71, 1980
Untitled #. 74, 1980
C-type print
39 x 59 cm
Victoria and Albert Museum, London, UK
Untitled #86, 1981
Untitled, #112, 1982
Color photograph
45 1/2 x 30 inches. Artist’s proof 1/2
Guggenheim Museum, New York City
Untitled, 1982
Gelatin silver print
15 7/16 x 9 1/8" (39.2 x 23.2 cm)
The Museum of Modern Art, New York City
Untitled, 1982
Photograph
type C photograph
114.3 x 75.0cm sight; 118.8 x 79.5 x 3.7cm frame
Art Gallery of New South Wales, Sydney, Australia
Untitled #97, 1982
Photograph on paper
1150 x 760 mm
Tate Gallery, London
Untitled #100, 1982
Photograph on paper
1147 x 760 mm
Tate Gallery, London
Untitled #126 1983
Photograph on paper
1828 x 1218 mm
Tate Gallery, London
Untitled, 1985
Photograph, chromogenic print
50.8 x 40.6 cm (20 x 16 in.)
Museum of Fine Arts, Boston
Untitled #153, 1985
Untitled, #167, 1986
Color photograph
60 x 90 inches. Edition 5/6
Guggenheim Museum, New York City
Untitled #234, 1987–90
Photograph, chromogenic print
228.6 x 152.4 cm (90 x 60 in.)
Museum of Fine Arts, Boston
Untitled #203, 1989
Photograph, chromogenic print
154.9 x 116.2 cm (61 x 45 3/4 in.)
Museum of Fine Arts, Boston
Untitled, 1989
Cicachrome print
Birmingham Museum of Art, Alabama
Untitled #211, 1989
Color photograph
37 x 31 inches
Broad Art Foundation
Untitled, #209, 1990
Untitled #210, 1990
170.2x 114.3 cm
Untitled # 224, 1990
Untitled # 225, 1990
Untitled #230, 1990
Color photograph
170.2x 114.3 cm
Broad Art Foundation
Nipple with Diamond, 1992
Media Chromogenic development (Ektacolor) print
13 x 8 5/8 in. (33.02 x 21.91 cm); Sheet: 14 x 11 in. (35.56 x 27.94 cm)
Los Angeles County Museum of Art Database
Untitled #302, 1993
172.1 x 114.3cm
Untitled #282, 1993
Photograph, chromogenic print
231.6 x 155.3 cm (91 3/16 x 61 1/8 in.)
Museum of Fine Arts, Boston
Untitled #323, 1995
Untitled, 2003
Untitled, 2004
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Cindy Sherman nasceu em 1954, em Glen Ridge, New Jersey, e vive em New York. No início da sua arte, abordava estilisticamente a estética dos filmes americanos dos anos 50. Depois desta fase, voltou-se para a fotografia a cores e, aqui, quebrou os moldes usuais da fotografia tradicional. Produziu os seus Retratos de História, dos quais se apresentam alguns exemplos. Mais recentemente, tem criado uma série de fotografias de moda em que combina, de forma verdadeiramente grotesca, a moda com modelos estranhos e ridículos. O resultado transforma a ideia da fotografia de moda - apresentar roupas de formas atractivas com mulheres estereotipadas. Cindy Sherman nasceu em Glen Ridge (NI (EUA) em 1954.
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Cindy Sherman was born January 19, 1954, in Glen Ridge, New Jersey. She emerged onto the New York art scene in the early 1980s as part of a new generation of artists concerned with the codes of representation in a media-saturated era. Having graduated from State University College, Buffalo, New York, in 1976, she moved to New York the following year, at a time when the authority of the Modernist paradigm was coming under increasing scrutiny. Amid debates surrounding authorship and the role of originality, the condition of the photographic image, and the increasing commodification of art, Sherman’s work was quickly embraced in the early 1980s and framed within the contemporary feminist critique of patriarchy. Sherman’s reputation was established on the basis of her Untitled Film Stills, a series of black-and-white photographs from the late 1970s in which the artist depicted herself dressed in the guises of clichéd B-movie heroines. 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. Her appropriation of the space on both sides of the lens destabilized the traditionally gendered 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. If the Untitled Film Stills elicited debate concerning the construction of woman-as-image, the photographs Sherman made throughout the mid-1980s served to perpetuate this discourse. Her Centerfolds (1981) and Fashion (1983–84) series elaborated the codes of what film theorist Laura Mulvey termed the “to-be-looked-at-ness” of female representation. 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. Sherman’s choice of gendered genres compounds the voyeuristic impression established in the works. Feeling pigeonholed by the feminist discourse that surrounded her work, Sherman gradually dispensed with representations of the female, often removing herself from the picture and moving toward more fantastic and lurid imagery, as in her Fairy Tales and Disasters series from the mid-to-late 1980s. The ever-increasing market for her photographs also prompted this turn, challenging her to attempt to create work that was “unsaleable” due to its visceral depictions of vomit, body parts, and grotesque fairy tales. Simultaneously, she instilled the works with a heightened sense of artifice created by garish colors and gaps that reveal the fiction behind the illusion. Throughout her career, Sherman has appropriated numerous visual genres—including the film still, centerfold, fashion photograph, historical portrait, and soft-core sex image—while disrupting the operations that work to define and maintain their respective codes of representation. In addition to numerous group exhibitions, her work was the subject of solo exhibitions at the Stedelijk Museum, Amsterdam, in 1982 and the Whitney Museum of American Art, New York, in 1987. A retrospective organized by the Museum Boymans-van Beuningen, Rotterdam, traveled throughout Europe in 1996 and 1997. Sherman lives in New York and is at work on a feature-length horror film.
Guggenheim Collection - Sherman Biography
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Cindy Sherman was born January 19, 1954, in Glen Ridge, New Jersey. She emerged onto the New York art scene in the early 1980s as part of a new generation of artists concerned with the codes of representation in a media-saturated era. Having graduated from State University College, Buffalo, New York, in 1976, she moved to New York the following year, at a time when the authority of the Modernist paradigm was coming under increasing scrutiny. Amid debates surrounding authorship and the role of originality, the condition of the photographic image, and the increasing commodification of art, Sherman’s work was quickly embraced in the early 1980s and framed within the contemporary feminist critique of patriarchy. Sherman’s reputation was established on the basis of her Untitled Film Stills, a series of black-and-white photographs from the late 1970s in which the artist depicted herself dressed in the guises of clichéd B-movie heroines. 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. Her appropriation of the space on both sides of the lens destabilized the traditionally gendered 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. If the Untitled Film Stills elicited debate concerning the construction of woman-as-image, the photographs Sherman made throughout the mid-1980s served to perpetuate this discourse. Her Centerfolds (1981) and Fashion (1983–84) series elaborated the codes of what film theorist Laura Mulvey termed the “to-be-looked-at-ness” of female representation. 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. Sherman’s choice of gendered genres compounds the voyeuristic impression established in the works. Feeling pigeonholed by the feminist discourse that surrounded her work, Sherman gradually dispensed with representations of the female, often removing herself from the picture and moving toward more fantastic and lurid imagery, as in her Fairy Tales and Disasters series from the mid-to-late 1980s. The ever-increasing market for her photographs also prompted this turn, challenging her to attempt to create work that was “unsaleable” due to its visceral depictions of vomit, body parts, and grotesque fairy tales. Simultaneously, she instilled the works with a heightened sense of artifice created by garish colors and gaps that reveal the fiction behind the illusion. Throughout her career, Sherman has appropriated numerous visual genres—including the film still, centerfold, fashion photograph, historical portrait, and soft-core sex image—while disrupting the operations that work to define and maintain their respective codes of representation. In addition to numerous group exhibitions, her work was the subject of solo exhibitions at the Stedelijk Museum, Amsterdam, in 1982 and the Whitney Museum of American Art, New York, in 1987. A retrospective organized by the Museum Boymans-van Beuningen, Rotterdam, traveled throughout Europe in 1996 and 1997. Sherman lives in New York and is at work on a feature-length horror film.
Guggenheim Collection - Sherman Biography
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This entry was posted
on Quinta-feira, Setembro 15, 2005 at 1:02 AM.
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1:02 PMBOM DIA!
nao posso dizer que este fotografo é inteiramente do meu agrado mas nao deixa de ser curioso.
Gosto do Caravaggio reinventado...
Publiquei um auto retrato no I&I, nao esta particularmente bom, na verdade foi apenas o terceiro retrato que alguma vez pintei... ainda tenho muito a aprender e sobretudo estilo a defenir... no entanto, gostava de saber a tua opiniao (nao te preocupes, podes ser sincero... provavelmente vais fazer as mesmas criticas que eu propria me faco!)
Abracicos!
1:02 PM
BOM DIA!
nao posso dizer que este fotografo é inteiramente do meu agrado mas nao deixa de ser curioso.
Gosto do Caravaggio reinventado...
Publiquei um auto retrato no I&I, nao esta particularmente bom, na verdade foi apenas o terceiro retrato que alguma vez pintei... ainda tenho muito a aprender e sobretudo estilo a defenir... no entanto, gostava de saber a tua opiniao (nao te preocupes, podes ser sincero... provavelmente vais fazer as mesmas criticas que eu propria me faco!)
Abracicos!
6:24 PM
Bem orignal,mas aquela do bonetco talvez tenha sido retirado do filme "Exorcista" ou vice-versa?
2:01 AM
Boa Noite!!!Eu sou estudante de moda, estou fazendo uma pesquisa sobre a Cindy Sherman.Estou precisando de algumas coisas dela...Como biografia e alguns artigos sobre ela...
Se vc puder me ajudar com algum material sobre ela. Eu iria ficar muito grata.
Se puder me ajudar.Entre em contato pelo meu email dnzdani@hotmail.com
Muito obrigado.
6:30 PM
Sherman é fantástica. Sem querer exagerar, uma das raras personalidades contemporâneas (vivas) que realmente consegue aliar um discurso atual, com processos atuais (maquiagem, equipamento, etc) e ainda fazendo um 'link' com o passado, que é passado mas tem muito a ser digerido.
Sherman ainda consegue discutir o papel da mulher perante a sociedade (de uma forma muito pertinente, sem feminismos demagogos) e ironizar os arquétipos e os "way of life", sejam quais foram.
Na minha opinião, Cindy é "A" artista do século XX e início do XXI. Sou fã de carteirinha =)
Peterson/ Londrina-PR
12:39 PM
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6:34 PM
muito interessante,cada pessoa tem um estilo único...mostrando a sua criatividade e se expressando através da arte....amei♥
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