Visualizing Voyeurism: Authored by Emily Mendelson and Eta Pastreich, Binghamton UniversityMain Menu"Visualizing Voyeurism"What is Voyeurism?Opening ViewParisian TypesNudes AlbumMyths and Biblical Themes ViewMyths and Biblical ThemesIntimacy Corner ViewThe Rise and Fall of the 3rd StreamEmbraceThe Captivating Desire: AIDS #4Rooftop SunbatherFeminist Photography ViewUntitled Film StillsGallery Wall of SketchesThe Desublimation of RomanceDanae and the Golden Shower; VitrineGallery Wall ViewPainter Sketching and Nude Model in a HatMeet the AuthorsBinghamton University Art Museum Fair Use StatementHilary Becker8acde8ddd866de3e1500ef02591b1ae693bb7788Written by Emily Mendelson and Eta Pastreich, Binghamton University
Untitled Film Still #65
1media/1988.31_thumb.jpg2020-05-04T12:54:00-07:00Eta Pastreich46a56eebddbdac46aa757e94bead41c08a9e95b1373371Cindy Sherman, (American, b. 1954), Untitled Film Still #65, 1980, Gelatin silver print, 10 x 8 6/10 inches, Museum purchase with funds from Mr. & Mrs. Morton B. Harris. Source: Binghamton University Art Museumplain2020-05-04T12:54:00-07:00Eta Pastreich46a56eebddbdac46aa757e94bead41c08a9e95b1
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12020-04-27T13:42:43-07:00Untitled Film Stills3gallery2020-05-04T13:46:09-07:00 Cindy Sherman subverts traditional stereotypes of femininity. For her series of Untitled Film Stills, she acted as both model and photographer, disrupting the typical viewer/object relationship and appropriating the male gaze. Sherman poses herself in ways that echo famous films and female roles of the 1950s and ‘60s. However, by inserting herself into these popular film tropes she is able to better dissect them and, through the use of costumes, wigs, and staging, she highlights the fallacy of their depiction--thereby reclaiming the female image. Sherman does not consider these to be self-portraits, because she catalogs a variety of familiar female types and has in the process metaphorically stepped outside of herself. In Untitled Film Still #65 has an implicit threatening quality as she is seen looking over her shoulder at an ominous male figure in the shadows at the top of the New York Public Library stairs. #11 is more evocative of Hollywood melodramas as she has thrown herself on her bed longingly in her nightgown and pearls, clutching a tissue as the clock reads 11:20.
