design review - Photo Review: Photographic Critic Chul-joo Choi/
Cindy Sherman’s fabricated photography ntitled Film Still> series, 1977-80
Untitled Film Still 21 by Cindy Sherman_ 1978 (Credit_ Courtesy of the artist and Metro Pictures_ New York)
Cindy Sherman's photo
Cindy Sherman's photo is a composed picture that is processed by combining images that are contrary to constructivism.
Her real-life photos of the object make her look at the meaning of the picture she made, unlike the objects that the viewer wished to identify with her for the first time.
Chul-joo Choi (Doctor of Design)
Constructivism, which does not depict objects prior to realism with space and time motifs, applies shapes to abstract images.
It organizes elements of an object but does not depict its image.
In the area of space exposed by her photographic image, the target appears to be an image composed by synthesis, which is the main character of her disguised self.
As the main character of the makeup, she becomes the object of expression a disguised character, creating a gap with the person who avoids and distorts the subject in the wrong sense.
And as the main character, she becomes the object of expressing meaning and creates a distinction between distorted views that avoid the wrong meaning of the subject.
She is the object of images of individual expression is staged rather than space of time over the image by dressing as a feminist image taken.
Therefore, she makes up images of men who are interested in seeing women's sexual expressions reflected in the film.
Her makeup is tailored to sexually peeping men's voyeur rather than Marilyn Monroe's image.
Paradoxically, the photo of her own makeup is feminist art.
This contrasts with Marcel Duchamp's makeup in "Rrose Sélavy," which turned feminine.
If Marcel Duchamp's makeup is double meaning, Sherman seems to distort the image of makeup.
Her image of the photo is a feminist spirit through the photo that she saw artistic merit in an aesthetic standpoint.
It is moving the meaning of the picture in a visual meaning of her artistic value.
As a known actor, she exposes a space of objects with Monroe's meaning, causing him to stop a scene in the movie and think of another meaning.
In other words, the unconscious meaning, which is different from reality, is structured like a movie photo.
She points to the wrong way of looking at women created by masculine media as Marilyn Monroe's makeup in the Untitled Film Still series.
In this way, she reminds men of the wrong meaning in the picture as a voyeuristic image. In other words, women in the picture are misrepresented in the media by reminding men of the wrong meaning with voyeuristic images.
And Cindy Sherman's mysterious photograph, replacing the voyeuristic image, dictates the meaning of the image.
Writing. a photographic critic, Chul-joo Choi (Doctor of Design)
Untitled Film Still 54 by Cindy Sherman_ 1980 (Credit_ Courtesy of the artist and Metro Pictures_ New York)
[the source: http://www.bbc.com/culture/story/20190720-why-cindy-shermans-photos-are-so-mysterious]
