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Rombad Kenn Rosalind Krauss. Cindy Sherman 1975-1993 New York: Rizzoli, 1993 Son Peo. AVE TOLD MIE THEY HEMAMNEI THE MOVIE TRICE ONE OF MY IMAGES DDeRIVED FROM, RUT IN EY E RAD NO FHACAN ARID AT ALE Cindy Sherman presenting her work co an art-school audience. She shows tides of her Untitled series an account of ‘Suille—the black-and-white photographs in which as both director and actress she projects a range of 1950s sereen images—and next to each, he reports, she presents stills fom dhe movie on which hes wges were based. What emerges through th comparison, he says, is hae "vircually every detail seemed to be aecou ed for: right down 10 the buttons on the blouses, the cropping of the image, even the depth of field of the camera.”? Alehough be is upset by what this comparison reveals about the slavishness of Sherman’ procedure—ihe stroke-forstioke meticulousness of the copy, so to speake—he i certain that what Shetman is after in any casei weoognition of the original, although not as a source waiting ro be rep moned. So he speaks sb 0 recall she original film image.” And, hocaye, “ii wane dhe setue file the viewer recalled, ced, but rather 35a memory waiting t be sum- «the viewer of ihe normally unaccompanied Sherman Still “starting “then ie was an ad fort and if noc tha, then ic was a piture From a review ina newspepee” (On its face tis sory is amazing. Because in a Sherman Film Still ehere is no “orginal.” Not in the “aenal file 1-3 publicity shot or “i,” nor in any other published "picture" The condition of Shermauis work in the Fm Sul le—and pare of theie point, we could say —is che sinvabcral nature of what they conssin, the condition of being a copy without an original ‘The structure ofthe simulacrum, along with Shermans explo- cao ofits lal something that ees tobe examined. But even before doing, cis wort eying wih de story of deslide show an is puaive unvling ofan “ginal” which isto iy he stony Bain, screaming Rama ike, misecogstion Did Sherman ever show real movie sill nexc 1 het own work? And ifs, 10 what end? Since hee own inuges manage to project as aera of stecorypical Hollywood of New Wave somes along with the very atmospheres through hich they ae the fln noir bacd-biticn denizen af the night, ome of Hicchcock’s plucky bu vul- nese carer gids dhe B-movie small

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