Cindy Sherman No 21 Analysis

In The Washington Post Sally Jenkins writes a column titled “rather than pay athletes, show them respect”. Jenkins talks about the age old question of “should college athletes be paid?”. She wants us to consider who college athletes really are and to see that they are worth our respect and much more.

The piece of art I chose is called Batman created by Lino Tagliapietra made in 1998. The median is glass. Batman is a U shaped figure with very pointy ends and 2 little spikes sticking out of the top. The right end sits up higher then the left end. The artwork is smooth with little dimples all over it. It’s red on the whole sculpture with a blue stripe horizontally through the middle.

Gabrielle Roy's "The Move", highlights a young girl's longing for adventure and travel toward unknown destinations. However, as she realizes what is truly present outside her imagination, a surge of disillusionment comes over her. The child's description of horses, spearheading an adventure, but then falling ill and tired, illustrates the girl's realization that excitement and joy in the world cannot amount to her vivid imagination. In the short story, the image of weary moving horses parallels the child's sudden grasp of reality, illustrating the naive character's loss of innocence.

After having read the essays by Sherman Alexie and Stephen King, it is fair to say that there are a fair amount of similarities given that the context is different in each. Alexie’s piece was on how the writer saved himself and aims to do so for those around him. While King’s Piece gives advice on the benefits of reading, especially for a writer and doing something one loves. One notion mainly expressed in both essays is one should read as much as possible, whatever is possible, wherever and whenever.

In the passage Nancy Mairs presents herself in a way which demonstrates that she has many characteristics of a strong woman. She includes tone and a high quality choice in words to describe herself and why she used the word “cripple” as a name for herself.

In the article A’s for Everyone, Alicia Shepard recognized a pattern in which her students placed too much emphasis on the letter grades received as opposed to the actual understanding and retention of the curriculum being taught. To understand this phenomenon, Shepard drew upon both the historical catalyst which led to it and her personal experience as a college professor. The systematic indoctrination of the importance of letter grades originated during the Vietnam War when "Men who got low grades could be drafted," (p. 3, par. 4). This having occurred, the pressure to obtain a higher grade became less about gaining knowledge and more about regurgitating information to receive an A. Subsequently, future generations stressed to their offspring

While many photos in You Have Seen Their Faces depict life in the south in negative light, there are a few photos that contradict this sentiment. While reading the book I found many photos that placed their subjects in a positive light and most of them happened to center around motherhood. These images portrayed the mothers as strong and determined in the face of adversity.

In the primary source, it states that near the end of the Civil War in 1865, General William Sherman, who represented the military and government, was faced with a huge issue that needed to be solved. Since he was given ownership of “the islands from Charleston, south, the abandoned rice fields...and the country bordering the St. Johns river, Florida,” which mostly contained newly freed slaves, Sherman had to execute a plan of where to place these individuals (Sherman). As a result, Sherman wrote and proposed, Special Field Order 15, that set aside these areas for freed slaves to settle. Each family was offered 40 acres and military mules, leading to the phrase, “40 acres and a mule,” which became a symbol of the economic independence gained by former slaves and like “other Americans, believed essential to genuine freedom (Foner 555). Interestingly enough, Sherman spent a few more weeks having meetings with local black leaders. During the meetings, Sherman “asked the group's leader..Rev. Garrison Frazier, a series of questions,” one of them asking if they would rather live “among the whites, or in colonies” by themselves (McCammon). To which Frazier admitted that they would rather live by themselves, due to the continuous prejudice in the South against African Americans, so Sherman ordered that “no white person, unless military officers and soldiers

For my term paper I decided to go to the Cantor Museum in Palo Alto, and I chose to focus on two portraits of women from two distinct time periods. First, I decided on the portrait of Margaret Blagge, Wife of Sidney, 1st Earl of Godolphin. This portrait was painted by the artist Matthew Dixon in 1675, in the Baroque period of art. The portrait of Margaret Blagge was done in England, and it was painted as an oil on canvas. The second artwork I chose to compare was the Portrait of Sally Fairchild by John Singer Sargent. This portrait was done from the year 1884 to 1887 during the Realism movement in art. The portrait of Sally Fairchild was painted in the United States of America, and was painted as an oil on canvas. When comparing these two portraits

2. 1937, Bourke White, Margaret, At the Time of the Louisville Flood, American, Gelatin Silver print.

Sherman’s Untitled #211 (Oval Profile of Woman) is also a color photograph created in 1989. The portrait shows the profile of a middle-aged woman facing the right with a stacked, beaded necklace draped around her neck. She is a well dressed aristocratic in a black sequence blouse with white chiffon sleeves. Her brown hair is held up with colorful scarfs. She holds her nose high in the air as to look sophisticated or arrogant. The uneven texture of the skin

The characters Sherman portrays, lighting, clothing and expressions are cliché of what is present in cinema, so much that viewers of her work have told Sherman that they ‘remember the movie’ that the image is derived from, yet Sherman having no film in mind at all.[iv] Thus showing that her word has a pastiche of past cinematic genres, and how women are portrayed in cinema and photography and how Sherman has manipulated the ‘male gaze’ around her images so they become ironic and cliché.

One of his most famous, and well-known bodies of work that was very representative of his style of photography was the series of photos known as “Women are beautiful”. His primary concern with the series was to show not only the beauty of women in situations where beauty was expected or common, but also within the average life of independent women of the era, the latter is displayed very well in the photo Bag Lady. This photo contains a women making her way down the street in casual clothing carrying some personal belongings, her intention is not posing, or conveying her beauty, she is simply going through her day to day life, and Garry’s message is to communicate her beauty. The message with the entire body of work is the simplistic message that all women are beautiful whether in formal attire (Centennial Ball), or in casual life (Lots of

Cindy Sherman began her famous series of "Untitled Film Series" at the end of 1977. The small black and white photographs are of Sherman impersonating female character types from old B grade movies, which speak "to a generation of baby boomer women who had grown up absorbing these glamorous images ay home on their televisions, taking such portrayals as cues for their future" (Thames and Hudson 1). Upon graduation of college in 1977, Cindy Sherman and her fellow student Robert Longo moved to Manhattan, New York together. She continued with her interest in role-playing and dressing up as different characters, and began to photograph herself in these different guises among different locations such as her apartment Untitled Film Still #10, in the Southwest in Untitled Film Still #43, and in Long Island in Untitled Film Still # 9. Sherman's manipulation of lighting, makeup, and dress make it difficult to believe that all of the characters represented were indeed the same person (Heller 225). All of the portraits are of her but none of the works are in any way a self-portrait of

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.