The Work of Cindy Sherman

There is no other artist who has done an extended or complex career like Cindy Sherman. However, all of her pictures were taken by Cindy Sherman, but I could not call my work self-portrait. She is an undefined B movie, a fictitious TV character, a pretending porn star, an indiscriminate young woman in a contradictory emotional state, a fashion mannequin, a monster that forms a story, and what she made I changed the actress with no name and performed it. , The number of deformed body and grotesque queries.

When I saw the artist Cindy Sherman's work, I always remembered a slippery identity. His project was incorporated into the MOMA exhibition here. Sherman is an American photographer and film director known for his conceptual portrait. She continues to work and usually shoots herself in various costumes and is exploring the plasticity of identity. Besides that, she took pictures of herself as well as her own studio, writer, director, makeup artist, hair stylist, wardrobe mistress, and model.

Cindy Sherman was born in Glenridge, New Jersey in 1954. Sherman received his bachelor's degree from the State University of New York at Buffalo State University (1976). In self-reflecting photographs and movies, Cindy Sherman invented countless camouflage, transformed from a Hollywood star into a clown, and became a sociable hostess. Usually the simplest means - cameras, wigs, makeup, equipment - shaman fashion is blurred but memorable characters show a complex life outside the framework. Sherman refused to put descriptive words on her images leaving her work - but relying on the ability of the viewer to develop stories as an important part of the work's evaluation.

Many scholars have stressed that Cindy Sherman's work relates to the concept of gaze. In particular, scholars like Laura Malvey analyzed the Ummstroke series of shaman on men's gaze. In a 1991 article on Sherman, Malvi said "Elements of women's efforts must match the desired appearance that is the influence of Sherman's portrait angiography." Its function is to mimic the difference in camera shooting. The voyeur Sherman himself discovered the uncertainty of the relationship between untitled series and male gaze. When I interviewed David Brittain of Creative Camera in 1991, Mr. Sherman said, "We did not actually analyze at that time, so please know that we were commenting on the feminist's problem. Looking back at some of them, some of them were replaced by original puzzles of the time I think that it is similar, somewhat obvious, I am now interested in their overall series. "