' Untitled #03 1977'
'Untitled #06 1977'
'Untitled #50 1979'Feminism- Cindy Sherman
Cindy Sherman’s self portraits link to the subject of feminism. The photographs consist of staged self portraits and film stills. In many of Sherman’s films she played the role of the ‘femme fatal’ and was made to look venerable. In other films Sherman played the role of a sex symbol and the role of the domestic goddess, cooking and cleaning. Sherman’s roles varied but each was revolved around the male form. Sherman’s series of black and white film stills were taken from (1977-1980) at a time where the world was still over dominated by men. I admire Sherman for her confidence and realisation of equal forms. Now in a growing feminist society Sherman’s work will be idolised and used as an example of how male dominated the world once was.
Sherman said,
“I’m trying to make other people recognize something of themselves rather than me.”
I think this quote says a lot. I can imagine women seeing her portraits and thinking what role they play in life or rather what role of Sherman’s they play. All of Sherman’s portraits are ‘Untitled’ I Iove how this effects the photographs. By not naming the photographs this says to me that there is no true identity of women it’s her own decision and she makes what she makes of it. When looking at a Sherman portrait two people will not always have the same ideas and ideals. These ideas could have been swayed with a name to a photograph. For example if a photograph was called ‘Helpless’ the viewer would use that to influence their thoughts. Although a lot of Sherman’s roles were evented women know them and can associate with them. I guess you could say they saw themselves in Sherman’s many roles.
Another aspect of Sherman’s self portraits or film stills is there are never any men involved in the photographs, which I think works really well.
The first photograph ‘Untitled #03 1977’ Sherman plays the role of the domestic goddess in the kitchen cooking and cleaning and waiting for the male figure to come home. When I look at her expression I get a sense of nervousness she looks a little worried. This could be for any reason and as she looks out of the frame it gets the viewer questioning her expression and what she is looking toward. In a way you could say she looks fed up with her life like she has another purpose, a dream. She looks very young here which could suggest she married young and hasn’t had a chance to have much of a life. I like the cropping here as it doesn’t give too much away.
The second photograph ‘Untitled # 06 1977’ shows Sherman lying on the bed. She is in lingerie which would appeal to the male viewer. Here Sherman is being used as a sex symbol to attract male viewers to the film. Sherman plays a well off character here; this is decoded by her surroundings and glamorous look. Sherman holds a mirror in her hand which shows she is image conscious. Almost every woman can appeal to this portrait! There is not expression in Sherman’s eyes she almost looks doll like which could suggest that she is just a construct or stereotype. Sherman is dressed up which could suggest she is a house wife and is waiting for her husband to get home. The bird’s eye view angle gives innocence to the photograph and forces the viewer look down on her.
The final photograph ‘Untitled #50 1979’ shows Cindy Sherman in a more masculine role playing a strong and powerful women. This is encoded by her posture and style. Her hair says a lot about here whereas in the other photograph she was made to look cute and innocent here she looks bold and confident. I think the time period had a lot to do with how women were represented as compared to the other two film stills which had been taken 2 years before. Her role can also be matched with her surroundings for example here she is in a modern room with bold furniture as compared to ‘Untitled #6 1977’ where Sherman is surrounded by flowers and soft surroundings. Sherman sits in a confident a suggestive position she looks as if she is there to manipulate the male and get what she wants. I love seeing Sherman in this role and I’m sure many other women do!
Sherman said,
“I’m trying to make other people recognize something of themselves rather than me.”
I think this quote says a lot. I can imagine women seeing her portraits and thinking what role they play in life or rather what role of Sherman’s they play. All of Sherman’s portraits are ‘Untitled’ I Iove how this effects the photographs. By not naming the photographs this says to me that there is no true identity of women it’s her own decision and she makes what she makes of it. When looking at a Sherman portrait two people will not always have the same ideas and ideals. These ideas could have been swayed with a name to a photograph. For example if a photograph was called ‘Helpless’ the viewer would use that to influence their thoughts. Although a lot of Sherman’s roles were evented women know them and can associate with them. I guess you could say they saw themselves in Sherman’s many roles.
Another aspect of Sherman’s self portraits or film stills is there are never any men involved in the photographs, which I think works really well.
The first photograph ‘Untitled #03 1977’ Sherman plays the role of the domestic goddess in the kitchen cooking and cleaning and waiting for the male figure to come home. When I look at her expression I get a sense of nervousness she looks a little worried. This could be for any reason and as she looks out of the frame it gets the viewer questioning her expression and what she is looking toward. In a way you could say she looks fed up with her life like she has another purpose, a dream. She looks very young here which could suggest she married young and hasn’t had a chance to have much of a life. I like the cropping here as it doesn’t give too much away.
The second photograph ‘Untitled # 06 1977’ shows Sherman lying on the bed. She is in lingerie which would appeal to the male viewer. Here Sherman is being used as a sex symbol to attract male viewers to the film. Sherman plays a well off character here; this is decoded by her surroundings and glamorous look. Sherman holds a mirror in her hand which shows she is image conscious. Almost every woman can appeal to this portrait! There is not expression in Sherman’s eyes she almost looks doll like which could suggest that she is just a construct or stereotype. Sherman is dressed up which could suggest she is a house wife and is waiting for her husband to get home. The bird’s eye view angle gives innocence to the photograph and forces the viewer look down on her.
The final photograph ‘Untitled #50 1979’ shows Cindy Sherman in a more masculine role playing a strong and powerful women. This is encoded by her posture and style. Her hair says a lot about here whereas in the other photograph she was made to look cute and innocent here she looks bold and confident. I think the time period had a lot to do with how women were represented as compared to the other two film stills which had been taken 2 years before. Her role can also be matched with her surroundings for example here she is in a modern room with bold furniture as compared to ‘Untitled #6 1977’ where Sherman is surrounded by flowers and soft surroundings. Sherman sits in a confident a suggestive position she looks as if she is there to manipulate the male and get what she wants. I love seeing Sherman in this role and I’m sure many other women do!
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