I give Cindy Sherman the once-over. Then the twice- and thrice-over. I know I'm staring more than is right but I can't help myself. I'm looking for clues. Sherman is one of the world's leading.

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2. Afraid Of Clowns Look Away Now It's Cindy Sherman For Machine
3. Afraid Of Clowns Look Away Now It's Cindy Sherman For Mac

Cindy Sherman, Untitled #96, 1981, chromogenic colour print, 61 x 121.9 cm The Museum of Modern Art, Gift of Carl D. © 2013 Cindy Sherman Cindy Sherman’s importance as a contemporary artist cannot be overstated. According to artfacts.net, an admittedly subjective website dedicated to tracking artist rankings worldwide, Sherman comes in at number 8 with Warhol and Picasso holding the number 1 and 2 spots. After Rhein II, 1999 by Andreas Gursky, Sherman’s Untitled #96, 1981, was the second most expensive photograph ever sold. Suffice it to say Sherman’s place in the canon was something we simply accepted as doctrine without giving it much thought – that is until we caught her first retrospective in 14 years at SFMoMA. The exhibition, which started at MoMA in New York and has since moved on to the Walker Art Center in Minneapolis, is an overwhelming testament to Sherman’s inventive and perceptive practice which has, over more than thirty years, provocatively mirrored and challenged cultural mores. Tracing her career from the mid-1970s to the present, the retrospective comprises some 160 works and is organized thematically to examine some of the issues that she has consistently probed in her work including artifice; cinema and performance; horror and the grotesque; gender and class identity; and myth, carnival and fairy tales.

Gathered together, her smaller, early experimental works through to her large, late grotesque masterpieces collectively call into question the issues central to photography – the nature of representation, the constructed nature of photography and identity, the command of the gaze – and the power of her multi-layered oeuvre cannot be denied. Cindy Sherman, Untitled #479, 1975, twenty-three hand-coloured gelatin silver prints, 52.1 x 85.1 cm overall Dorothy and Peter Waldt. © 2013 Cindy Sherman Combining pop culture with conceptual concerns, Sherman is, of course, best known for her portraits in which she deftly turns the lens on herself and uncannily assumes a startling range of guises. As director, makeup artist, hair stylist, costumer and model, Sherman controls every aspect of the image she creates – she is the ultimate auteur.

In manipulating her identity over the course of a more than thirty year career she has culled images from everything around us – TV, movies, fashion spreads, and art history – transforming herself into blonde bombshell, deranged clown, Renaissance Madonna and aging society maven, redefining the creative possibilities of photography as a channel through which to create, rather than merely depict. Sherman is the consummate actress: her convincing portrayal is key to the success of her work and viewing the astonishing array of identities she adopts it’s difficult to believe it is Sherman herself in all those pictures. She proves identity to be fluid and malleable. Perhaps our favourite work in the exhibition, Untitled #479, 1975, is one of the earliest and a harbinger of things to come.

In a series of small, 23 hand-coloured silver gelatin prints displayed in three rows, Sherman magically morphs from a bookish, androgynous sourpuss into a glamorous, cigarette-smoking, vixen – she is a chameleon transforming right before our very eyes. Cindy Sherman, Untitled #475, 2008, chromogenic colour print, 219.4 x 181.6 cm The Broad Art Foundation, Santa Monica © 2013 Cindy Sherman Many of Sherman’s photographs are purposefully provocative featuring an ageing woman’s naked, sagging breasts, for example, or dolls and prosthetics in overly sexual positions, recalling the work of Hans Bellmer. These images are deliberately unappealing –repulsive even – and through them she demands that the viewer confront their ideals of beauty.

While some of her work can be entirely unsubtle and is often confrontational, perhaps what is most compelling about Sherman’s practice is that her imagery is self-contained – no extended labels or long curatorial essays are required to understand Sherman’s point. Visitors to the exhibition were by turns visibly provoked, amused, repulsed and shocked by Sherman’s imagery – and always engaged. If you will miss this must-see exhibition at the Walker Center, try and track it down at the Dallas Art Museum where it opens March 13, 2013.

Visual comparison of Cindy Sherman’s ‘Untitled 424’ and Marlene Dumas’ ‘Supermodel’ A clown’s identity is unimportant, they are anonymous. However despite their performance are they really as psychotically happy as them seem? Bruce Charlie Johnson a clown expert said ‘they can contain exaggerated traits in their personalities, one he wishes he had and ones he has observed in others’ Cindy Sherman has always been fascinated with dressing up, disguise and borrowed identities. She has always refused to allow anyone else be one of her models. In an interview for the Tate magazine with Betsy Berne she said: ‘Once I paid an assistant.

But even when I was paying somebody, I still wanted to rush through and get them out of the studio. I felt like I was imposing on them. Also, I got the feeling that they were having fun, to a certain extent, thinking this was like Halloween, or playing dress-up. I also realised that I myself don't know exactly what I want from a picture, so it's hard to articulate that to somebody else - anybody else.

When I'm doing it myself, I'm really just using the mirror to summon something I don't even know until I see it.’ Despite using herself in her work she claims ‘ I don’t do self portraits, infact I try to get as far away from myself as possible, it could be in doing this though that I create a self portrait’1 The fear of the traditional clown’s makeup is widely recognized. Coulrophobia, the fear of clowns comes from the Greek word koulon (limb) and related derivatives suggest stilts and stilt-walking, eg: the Greek kolobathristes means ‘one who goes on stilts’.

However not all clowns walk on stilts, and most sufferers seem to agree that it is what is hidden underneath the heavy makeup and the costume that they fear the most. In ‘Untitled 424’ the exaggeration of the long painted teeth of the clown ‘suggests vampirism’2, the sunken eyes adds depth to the photograph. There is this sense of underlying sadness about the clown despite.HISTORY OF THE ENGLISH LANGUAGE This essay is on the history of the English language. The essay will cover the topic – what is language? Where does language come from? And what are the stages of development of the English language? Language is a system of expressions through sounds and symbols for communicating thought: it’s a particular system used by a nation.

English is the official language of Britain, the US, Australia and most other parts of the Commonwealth as well as certain other countries – relating to England – the English, the people of England. We don’t ask ourselves where languages come from because they just seem to be there: French in France, English in England, Chinese in China, German in Germany and so on. Yet if we go back only a few thousand years, none of these languages were spoken in their respective countries and indeed none of these languages existed anywhere in the world. Where did they all come from?

In some cases, the answer is clear and well known. We know that Spanish is simply a later version of the Latin language that was spoken in Rome two thousand years ago. However it’s never easy to pinpoint exactly where and when a specific language began, but in the case of English we know that it originated from England. English is a member of the Indo-European family of languages. This broad family included most of the European languages spoken today.

The Indo-European family included several major branches:. Latin. Table of Contents 2. Introduction 3.

Literature Review 5. Lewis Hine 8. Conclusion 9. Bibliography Introduction “Distant suffering on our screens was then, and still is now, a reminder of a world divided into zones of prosperity and poverty, safety and danger- persistently raising the question of ‘what to do’, only for us to keep evading it in our everyday lives.” (Boltanski L.

Afraid Of Clowns Look Away Now It's Cindy Sherman For Mac Free

1999) In images suffering is presented to us in a way that shocks the public with the intention to educate society on socio-economic issues. The public is then confronted with a reality that they cannot escape. Photos that document horrific times often create a shock effect that can be seen in a positive and/or negative nature. They can either convince society to raise money and or make a difference or they can cause the public to develop a stereotypical view of the world. Literature Review It is important to understand what Butler means by the grievability of lives and to test whether the photographs taken by Lewis Hine depict such “grievability”. According to Barthes a photograph can be an object of three emotions – to do (the photographer), to undergo (the target – person(s) being photographed -the referent) and to look (the spectator). To understand the photographer’s intentions these functions are to inform, to represent, to surprise, to cause, to signify, to provoke – Barthes refers to the stadium (the study) of photography.Villers-Cotterets, Aisne, France, Alexandre Dumas grew to become one of France’s most notable authors.

His father, born in the French colony of Saint Domingue, located in the Caribbean, was a Creole general for the French Revolutionary armies, and his mother was the daughter of an inn-keeper. Given Thomas-Alexandre Dumas’s lineage of a mother who was of Afro-Caribbean ancestry, Alexandra Dumas himself was also a man of Afro-Caribbean descent through blood. At the tender age of four, Dumas lost his father to cancer, leaving his mother struggling to provide for Dumas and his two siblings. Though financially troubled, Marie-Louise Labouret- Dumas tried to give her son an education; much to her avail, young Alexandre had little enthusiasm toward it. As he grew older, Dumas began working with a local notary to aid in his family’s economic situation. In 1822, Dumas left his home for Paris, where he worked as a secretary under the Duke of Orleans, who would soon become King Louis Philippe later on. It was during this period that Dumas became captivated by the literary world.

He read often and attended the theatre during his free time, and quickly developed a fondness for the works of William Shakespeare. It was inevitable for Dumas to begin dabbling in the realm of literature, and in 1825, he began to write his first plays. Henri III et sa cour, published.NARRATIVE: 'MY LAST BIRTHDAY' I will never forget my last birthday. It was on July 18 2007, when I was going to be 18 years old.

That day was very special and the best birthday that I have had, because there were many things that made my last birthday important for me. That day I woke up at 6:00 am, because my parents sang me a special song and they gave me some presents, also my siblings and my parents gave my many hugs, then my cousin Gaby arrived to my house and she gave me a box of chocolates and a CD of my favorite singer, it was the most beautiful present and for this reason I was very happy that morning. Well in the afternoon many of my friends called me and told me 'CONGRATULATIONS! You are old, now you can go to the night club, drink beer and you can do many things that before you could not do, for example you can drive, vote, etc.' These words made me very happy, because now I could go out with my friends to night clubs and I could arrive late to my house. But I was a little sad, because my best friend did not call me and I thought that she had forgotten my birthday.

After at 6:00 pm I was with my parents when I received a message, that was from my best friend Vera and she told me 'I have a surprise for you, I want to know if you can come to my house', and I told her 'of course, I thought that you had forgotten my birthday', and she said 'Did you believe it?, How if you know that you are my best friend and for this reason I want that you come to my. COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING This material has been reproduced and communicated to you by or on behalf of Monash University pursuant to Part VB of the Copyright Act 1968 (the Act). Any further reproduction or communication of this material by you may be the subject of copyright protection under the Act.

Julie Lakes By Ralph Kober I am grateful for the comments of Susan O’Leary and Robert Cornick who helped develop this case Julie Lakes let out a sigh; another tutorial, another sea of blank faces. It was week 6 and the majority of students were still not participating. Five minutes into the tutorial and Julie already knew that although it was only an hour, this class would be a long boring one for both her and the students. Why wouldn’t the students participate given there was a 10% tutorial mark? This could make the difference between passing or not! As always, the lecturer had gone to painstaking lengths to explain the theory in great detail and the mechanics behind the calculations. Given such in-depth lecturing why hadn’t the students got it?

Or had the students got it, but were just not doing their tutorial work? Or were the students doing their tutorial work and just not participating? Or were the students not interested?

Or were the students too shy to participate?.The American dream is a symbol of hope, empowering the characters to endure the tribulationsof life. In Of Mice and Men, protagonists Lennie and George have created an American dreamthat one day they will 'have a bigvegetablepatch and a rabbit hutch and chickens. And when itrains in the winter, we'll just say the hell with goin' to work, and we'll build up a fire in the stoveand set around it and listen to the rain comin' down on the roof SIC'(Steinbeck 16). The dreamis a stronghold; it allows them to endure the circumstances on the farm where they work.

Bothmen dislike working on the farm because the boss's son, Curley is often very cruel and theconditions on the ranch are deplorable. However, they continue to work on the farm because 'if we can get jus' a few dollars in the poke we'll shove off and go up the American River and pangold. We can make maybe a couple of dollars a day there, and we might hit a pocket SIC' (33).The dream creates an impetus for Lennie and George to stay within the intolerableconfines of farm to earn the money necessary to attain their dream.

To them, 'the dream of landrepresents independence and dignity; the American Dream' (Magill 4622). Theranchis asanctuary where Lennie and George can evade society and find acceptance despite Lennie'smental disability. Lennie is the beholder of dream, he constantly asks 'George, how long's itgoing to be till we get that little place an' live off the fatta the lan'an' rabbits?' (Steinbeck 55).Although.Mohandas Gandhi and Mao Zedong were two great leaders who succeeded in many ways by their actions and decisions. Gandhi was an Indian leader and Mao a Chinese leader. However, their approach to success, peace, and ultimately, a revolution, was very different. Mao favored peace through violence, and Gandhi favored peace through non-cooperation and standing up for what is right.

He also believed that these changes will be accomplished by “conscious suffering”, was the way he put it. However, despite their differences, these two leaders were similar too. They were both very charismatic leaders who successfully made it through their revolutions. Mao’s revolution led to change in class structure while Gandhi’s revolution involved India as a country, and he wanted people to realize that working together is a great way to gain independence. While Mao and Gandhi both believed that each of their countries have the need of independence, their views differed when it came to the use of violence, development towards the revolution, and their thoughts on a caste system.

Afraid Of Clowns Look Away Now It's Cindy Sherman For Machine

Gandhi and Mao Zedong had different ideas when it came to the use of violence. Mao believed that “Force is the midwife of every old society pregnant with a new one.” (reading packet, 12) What this means is that force is absolutely necessary and the outcome of force is violence. Mao is in total agreement with violence and sees the people opposing the movements he is favoring as “paper tigers”. As in, at first, these.Annie Dillard, the author of “The Death of a Moth” and Virginia Woolf, the author of “The Death of the Moth” have very different outlooks on the subject of life and death. Annie Dillard notices the point of loss and gain involved in the circle of life. Virginia Woolf, however, seems to see life as pointless and meaningless.

Afraid Of Clowns Look Away Now It's Cindy Sherman For Mac

It is essentially a postponement of the inevitable to her. Each author writes her essay at a different point in the year. This has a major impact on the personalities each of them. Dillard, the more chipper author, writes her essay in recollection of a past summer. Summer is a time when life is thrilling and nature is at its best, a season of positivity. The offspring of many animals first come out into the world in summer, signifying the beginning of new life.

Because summer is a warm and bright season, energy is at its peak, and spirits are high. Then you have less ecstatic Woolf, who wrote her essay in the fall, a time of changing, when the life of summer is slowly depleted so we can go into the cold days of winter. The autumn is a dark time in which the energy of all living things is being drained, even the summer’s green leaves begin to die out to an orange or red. Fall and summer are totally opposite seasons but the dark time of autumn reflects the dark nature of Woolf’s essay and her as a person. Each author writes in a manner that clearly describes their surroundings. Dillard goes to the woods to relax and enjoy the world.

She describes.