A Close Look at Cindy Sherman’s, Untitled Film Stills and Nancy Burson’s, Beauty Composites

578 WordsFeb 2, 20182 Pages
Cindy Sherman’s, Untitled Film Stills from 1977 are a series of 69 total photographs that were comprised in order to appear as though they were actually taken from film reels. Sherman appears in every one of these shots, and finds a way to create a common thread throughout each of them despite the fact that the characters that she is portraying are vastly different from one another. She accomplishes this by using similar clothing, lighting, setting, and compositions as those that would be found in American B-movies from the 1950s and 1960s. Nancy Burson’s, Beauty Composites from 1982 are a set of two computer-generated composite photographs, which are each made up of the faces of five different women’s faces. In the first composite, the faces of Bette Davis, Audrey Hepburn, Grace Kelley, Sophia Loren, and Marilyn Monroe have been morphed together to create the face of one woman overall. In the second composite, the faces of Jane Fonda, Jacqueline Bisset, Diane Keaton, Brooke Shields, and Meryl Streep have been through the same digital process. Sherman’s work talks about her own belief that representations itself is pre-coded, and in this case by cinema. In one of the stills in particular, Still Number 6, Sherman poses as a woman who looks as though she is daydreaming. In this photograph she is holding a mirror in one hand, and has a chilling blank stare on her face. The photograph has a disturbing undertone to it, which gives the feeling that she could also

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