Cindy Sherman early work: Doll Clothes
The below video is one of the First Cindy Sherman’s super-8 films. “Doll Clothes” has not been viewed since 1975, the year it was made in. It comically crosses Marcel 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 conceptual photographic work.
“Doll Clothes” was 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 in 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 Morris
Super-8 black and white film transferred to video, silent
2min, 22sec
installation
Photos and video: Cindy Sherman | Tate collection | Ubuweb
Cindy Sherman Conceptual portaits: Style, time and over-sized
Cindy Sherman is an American photographer and film maker who is known for her conceptual self portraits. Her works can rely on shock, surprise but also beauty. Depending on what era her works have focused on. As a female artist, Sherman addressed the issue of physical gender expectations and identity formation.
Sherman’s earlier work has toyed with and skewered feminine mystique. In her seminal Untitled Film Stills and other conceptual female portraits, she cast herself in most pictures, adopting various roles in the photographs that both exploit and comment on the male gaze, as well as create a running narrative about female identity.
Her latest works seem to be representative of Sherman looking forward in time. Sherman seems to be focusing on a period of transition and uncertainty in the lives of Western womanhood. The time of sexual attraction and procreation is seemingly over for these women. These society women are approaching a time when their previously engaged and active lives begin to slow down. The slight satirical appearances of the women hint at a vulnerability and a despair in the not too distant future, despite the many attempts at proud stances by these women. Rather than these pictures being a reflection of how men view women, these are strictly Sherman’s eyes we are seeing through this time.
The second remarkable fact about this latest series is that they are basically larger then life. Not only the physical photo dimensions are over-sized but also the make up Sherman uses to assume each specific identity and role for the photographs has been purposefully over done, the clothing worn in each photo helps tell a story, and the poses range from icy cold to slightly demented. There’s women in ball gowns alone in their own living rooms. Women who are trying very hard to look good for the camera.
Photos: Cindy Sherman | Conceptual portaits
