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Sherman - Motion
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Transcript of Sherman - Motion
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Taylor Smith
Professor Cronk
ARTD-125
2/17/14
Illusion of Motion
Throughout many of her works, American photographer Cindy Sherman
applies various conventions to create the illusion of motion. Sherman is known for
her meticulously detailed conceptual portraits, in which she photographs herself in
a wide variety of costumes. Many of these photographs involve traditional sill poses,
much like those in classical portraiture. However, a number of Shermans
photographs use traditional techniques to capture movement in her characters.
In Untitled #488 and Untitled #489, Sherman uses multiple images of a figure
to imply motion. These pieces both consist of cutouts from numerous photographs
of the same character. Each image captures a different moment in the characters
movement. When these images are strung together in close proximity, they combine
create a suggestion of the characters gesture. Sherman exaggerates this concept by
overlapping the cutouts, making them blend together into one single image. This
causes the viewer to look not at each individual cutout, but at the gesture as a whole.
Untitled #417creates an illusion of motion by repeating a figure over a
background consisting of wavy blurred lines. By placing three different images of
the same clown in close proximity, a sense of movement is created. The background
contributes to this effect as well. While the outlines of the clown are not blurred,
they are set against an energetic background of wavy lines that bleed into each
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other. Blurred lines are also used in Untitled #474. The background of the portrait is
duplicated and warped, then laid over itself with a reduced opacity. This effect,
created digitally, causes the background to blur and creates the illusion that the
room is spinning. The woman, however, is sharp and in focus, creating contrast that
heightens the feeling of motion in the background.
Motion is implied in Untitled #119by cropping specific areas of the image.
The right hand of the singer is completely present in the frame. The singers left
hand, however, is cropped out of the image, along with the top of her head. While
the right hand grounds the singer in the image, cropping off the rest of her body
creates the sense that she is bursting out of the frame. This same technique is used
in Untitled #463. Sherman crops the photo as close as possible without cutting of
any of the womens faces. The woman on the left, for example, has her arm out of the
frame. The photograph is cropped as though the frame cannot hold the energy and
motion of the women. When combined with the repeating clothing and red cups,
and illusion of motion is created across the image.
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Untitled #417 (2004)
Untitled #463 (2007)
Untitled #119 (1983)
Untitled #488 (1976)
Untitled #489 (1976) Untitled #474 (2008)