Comprehensively, there are various photographic images in the work of art. Straight photography has photographs that are not manipulated by digital procedures, darkroom, or by taking of the image. The photographs sharply portray the subject or scene as the camera sees it. Straight photography can be characterized as a time-based and process approach. On the other hand, documentary photography focuses on capturing real-life settings and situations. Though documentary photography’s objective is unclear, the photographer’s aim is to disclose some otherwise hidden reality or injustice. It simply aims to expose humanitarian or social injustices. Therefore, this paper further presents a discussion of Cindy Sherman. Untitled #466.2008 art, which is a straight photography
Cindy Sharman art is part of a pattern of pictures that attribute women of a particular age to the top ranks of civil society. The photograph shows a woman posing against an incredible backdrop and in an affluent caftan. Cindy took the photo herself in her studio facing a green screen which then went out and photographed various locations and digitally inserted them (Church Gibson et al., 2018). Though she seems composed and very well put together at first glance, upon looking clearly, one notices that her shoes are cheap plastic slippers. The thick stockings she is wearing also look cheap and not very pleasing. A viewer can notice the signs of aging, such as the loose skin around the neck and wrinkles around the neck. Cindy presents these details to reveal a tension between the surfaces of how women portray themselves to the universe and the reality that prowls underneath. The art also comments on how a fascination with status, youth, and class is very much at the heart of society today.
I chose Cindy Sherman’s photography because she attempts to portray the various identities and roles of herself and those of other modern women. Cindy utilizes the camera and other apparatus of daily cinema, such as stage scenery, costumes, and makeup, to reconstruct common illusions that show various concepts of self-confidence, entertainment, sexual adventure, public celebrity, and other communal authorized, existential circumstances. Her self-portraits also offer critiques of gender and identity (Clark, 2019). What appeals most about the art is how Cindy Sherman comments on how an obsession with youth, class, and status affects society today. She looks very decent at first glance, but looking keenly, a viewer can observe that she is on cheap plastic slippers and some thick cheap stockings.
Cindy Sherman’s art is under straight movement photography. Cindy’s art attempts to represent a scene in sharp detail and focus. Straight photography attempts to engage with the camera’s technical ability to bring up images that are sharp in focus and rich in detail. In other words, straight photography produces photographs that are not controlled either while taking the image or by digital or darkroom processes. However, the photographs sharply represent the subject or scene as the camera sees it. Cindy Sherman’s image #466 is straight photography because it is process and time-based. The art represents proximity, the passing of time as in history, and the freezing of time as in a snapshot. The art has all features of straight photography in that it has all the visual elements of the depth of field, it has the details in contrast, and it has no hand manipulations. The camera’s characteristic vocabulary in straight photography includes form, sharp focus, rich factors, rich tonalities, and high contrast. Pure photography shares similarities with straight photography since both describe the camera’s ability to produce an image of reality faithfully. The unsettling subjects underneath Sherman’s wide series of self-portraiture in various guises include the fashioning of self-identity as mass deception, domination, and sexual desire. The picture, therefore, seems simple without distraction elements in the background, thus making the viewer’s eyes not distracted while looking at the picture. Cindy calls into question mass media’s seductive and habitually repressive control over our individual and combined identities. Cindy’s work is in the center of the era of extreme consumerism and image creation at the close of the 20th century.
The art obtains a woman in an opulent caftan posing against a great backdrop. The artwork obtains some inquiries into the partial idea concerning beauty, aging, and self-image. The characters of the image appear vulgar and tragic since there is the struggle of excellent standards about beauty that triumph in young people and status-passionate culture. Therefore, the art mimics reality since Cindy Sherman obtains sandals shoes that expose her feet and wears a thick brown tocking on her legs. The painting in the art is wholly abstract, which means that it does not look like any ordinary shape and focuses on the image of Cindy Sherman (Filippelli et al., 2021). The image also obtains a classic background which makes the image look very standard and unique. The focus of the photograph is sharp, and the experience is suitable where the dress and face of Cindy are first noticed. The image also has a clear center of interest because the dress and face of Cindy dominate the picture. The color of the dress and grass is rarely enough to come up with a complete image. However, beyond a fast glance at the image, the color of the dress and grass catch one attention in the photograph. The shadows made by the setting sun also make the picture clear and interesting to look at. It adds an impact because it catches the viewer’s attention since it shows that Cindy is enjoying the day’s last moments.
Conclusively, art #466 by Cindy Sherman shows a woman posing against a fantastic backdrop and in an affluent caftan. Cindy took the photo herself in her studio facing a green screen which then went out and photographed various locations and digitally inserted them. I chose to critique this art because Cindy attempts to portray the various identities and roles of her and those of other modern women. What appeals most about the art is how Cindy Sherman comments on how a fascination with youth, class, and status affects today’s culture. Although she looks very decent at first glimpse, upon looking keenly, a viewer can observe that she is on cheap plastic slippers and some thick cheap stockings. Cindy’s art attempts to represent a scene in sharp detail and focus, making straight art photography. The image also has a clear center of interest because the dress and face of Cindy dominate the picture.
Church Gibson, P. (2018). Cindy Sherman in a New Millennium: Fashion, Feminism, Art, and Ageing. Australian Feminist Studies, 33(98), 481-497. https://www.tandfonline.com/doi/abs/10.1080/08164649.2019.1567256
Clark, T. (2019). Cindy Sherman Retrospective. British Journal of Photography, (7885). http://repository.falmouth.ac.uk/4004/1/Cindy%20Sherman%20Retrospective_BJP_TC.pdf
Filippelli, S. E. (2021). AN URBAN WALKABOUT WITH CINDY SHERMAN’S PHOTOGRAPH,” UNTITLED# 466, 2008”. Art/Research International: A Transdisciplinary Journal, 6(1), 132-150. https://www.erudit.org/en/journals/ari/1900-v1-n1-ari06004/1076952ar/abstract/