Cindy Sherman and the Convergence of Different Visual Cultures in the Creative Process of her Photographs
DOI:
https://doi.org/10.53930/27892182.dialogos.8.131Keywords:
Cindy Sherman, Photography, Cinema, Pastiche, Contemporary ArtAbstract
The creative processes of Cindy Sherman’s photographic series present a confluence of elements from different types of languages, obtained through the performativity of characters that blur the figurativeness of the self-portraited “I”. The photographic series The Bus Riders (1976), Untitled Film Stills (1977-1980) and Rear Screen Projections (1980-1981) are taken here as objects of analysis, to reflect on the existing conceptual similarities between his work and certain aspects of contemporary art, discussed by some authors. Such series constitute the beginning of Cindy Sherman’s photographic practice and, at the same time, corroborate for a deeper understanding of the relationship between visual cultures and contemporary art. Thus, in this article some analytical reflections are woven that take into account the technical characteristics perceived in these photographic series, in order to theoretically discuss how Cindy Sherman’s creative processes establish a dialogue between photography and other forms of contemporary visual aesthetics.
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FILMES
Cindy Sherman. Doll Clothes. [Filme cinematográfico]. Estados Unidos: Obra autoral, 1975. (2.22 min.), mute, black and white, Super-8.
Robert McNab & Mark Strokes. Nobody’s Here But Me. [Filme cinematográfico]. Estados Unidos: BBC, 1994. (55 min.), son., color.
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