Untitled Film Stills

出版者:Schirmer/Mosel Verlag GmbH

作者:Cindy Sherman

页数:164

出版时间:1998-04

价格:USD 15.95

装帧:Paperback

isbn号码:9783888146206

具体描述

Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés.

Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp.

In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.

作者简介

Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.

用户评价

这本书带来的冲击力，绝不仅仅是视觉上的。它更像是一次对女性叙事方式的深刻探索。那些看似简单的画面，却隐藏着复杂的情感和隐喻。每一个女性角色，无论她们身处何种情境，都散发着一种独特的力量。有时候，她们是脆弱的，仿佛风雨中的一朵花，需要被呵护；有时候，她们又是坚韧的，眼神中透露出不屈的意志，仿佛能独自承受一切。作者似乎在用一种无声的语言，讲述着女性在不同时代、不同境遇下的生存状态，她们的渴望，她们的困惑，她们的抗争。我特别着迷于那些暗示性的细节，比如一个不经意的眼神，一个微小的动作，都在诉说着一个漫长的故事。这本书让我重新审视了女性在电影叙事中的角色，以及她们身上所承载的丰富而多元的可能性。它拓宽了我对“故事”的理解，不再局限于传统的叙事模式，而是更加开放，更加包容。

第一次翻开这本书，脑海里就涌现出无数的画面，仿佛我身处一个电影的迷宫，而这本书就是那张引路的地图。作者以一种极为巧妙的方式，将静态的影像注入了叙事的灵魂，让我忍不住去猜测，去想象，去构建属于自己的故事线。那些黑白的影像，带着一种复古的韵味，却又透露出当下生活的某种共鸣。每一个镜头都像是一个精心设计的场景，演员们的表情，肢体的语言，都蕴含着难以言说的故事。有时候，我会觉得她们是某个未完成的电影中的主角，正经历着一段纠结的情感，或者一场突如其来的变故。我反复端详着那些定格的瞬间，试图从中捕捉到一丝线索，去拼凑出她们的过去、现在和未来。这本书不像是单纯的照片集，更像是一次沉浸式的观影体验，只不过，观众的我，同时也被赋予了导演和编剧的角色。这种互动式的阅读体验，让我感到前所未有的投入和满足。

这本书的魅力在于它的“未完成感”。那些被定格的瞬间，并没有一个明确的结局，反而像是电影的高潮前夕，或者是一个意味深长的暂停。我常常会被这些未完待续的画面所吸引，忍不住去思考，接下来会发生什么？她们的命运将如何？这种悬念感，让我沉浸其中，难以自拔。作者似乎有意让这些影像保持一种模糊性，让它们具有更多的可能性，可以被不同的读者，用不同的视角去解读。这种“留白”的处理方式，恰恰是这本书最成功的地方。它没有强加任何既定的意义，而是鼓励读者主动参与到故事的构建中来，成为故事的一部分。这让我觉得，这本书不仅仅是一件艺术品，更是一场与读者的深度对话，一次共同的创作之旅。

坦白说，刚拿到这本书的时候，我以为它只是一本关于某个特定时期电影的画册。但当我深入阅读之后，才发现它的深度远超我的想象。这本书更像是一场关于“观看”与“被观看”的哲学讨论。书中的影像，常常营造出一种引人窥探的氛围，仿佛我们是躲在暗处的观察者，偷窥着别人的生活。但同时，那些女性角色也似乎有所觉察，她们的眼神偶尔会投向镜头，带着一丝挑衅，一丝询问，甚至一丝邀请。这种“视线”的交错，让我思考，我们是如何被电影所吸引，又是如何被影像所塑造。这本书让我意识到，艺术作品中的每一帧画面，都可能蕴含着观看者和被观看者之间的微妙关系，而这种关系，本身就是一个引人入胜的故事。这种 meta-narrative 的体验，是我之前从未在其他艺术书籍中感受到的。

这本《Untitled Film Stills》给我带来的感觉，就像是在一个尘封已久的阁楼里，意外地发现了一系列充满故事的老照片。每一张照片都带着一种怀旧的忧伤，但又闪烁着某种无法磨灭的光芒。我试图去辨认照片的背景，去猜测人物的身份，去还原那个时代的氛围。那些黑白色的影像，有一种独特的质感，仿佛能穿越时空，将我带回到那个模糊而充满魅力的年代。我开始想象，这些照片背后，究竟隐藏着多少未曾被讲述的故事？那些女性角色的眼神里，究竟承载了多少心事？这本书并没有直接给出答案，而是留给了读者广阔的想象空间，让我们自己去填充那些空白，去创造属于自己的解读。这种开放式的叙事，让我感到惊喜，也让我对作者的创作意图充满了好奇。

这一册好美

inspiring

http://www.douban.com/photos/album/68082396/?start=54

＃补标 2018＃

inspiring