LOOKING AT BOTH OF THEIR WORK FROM 1999–2004, BEFORE CINDY TURNED 50.
CINDY WAS MAKING IMAGES SHE DID NOT PHYSICALLY APPEAR IN, YET PEOPLE CONTINUED TO SEARCH FOR HER INSIDE THEM FOR THE VALUE.
CHLOË WAS TAKING ROLES THAT WHERE RISKY, PORNAGRAPHIC, COMPLEX AND COULD NOT HAVE BEEN MADE MEANING, GONE INTO PRODUCTION, WITH OUT HER.
THE CONNECTION IS NOT RESEMBLANCE.
BOTH OF THEM USE DISTANCE, PERFORMANCE, COSTUME, VALUE AND WITHHOLDING TO CREATE AN IMAGE THAT REMAINS VERY ALIVE
I AM INTERESTED IN THE DISTANCE BETWEEN THEM.
CHLOË’S COOLNESS, RESERVE, STIFFNESS, HUMOR, BEAUTY, AND RESISTANCE TO EASY EMOTIONAL LEGIBILITY ARE NOT LIMITATIONS OF THE PERFORMANCE. THEY ARE PART OF THE FILM.
SHE CAN PLAY CINDY WHILE ALLOWING CINDY TO REMAIN UNRESOLVED.
FOR
BAG LADIES
CINDY SHERMAN AND CHLOE SEVIGNY
SCRIPTS
FORM
A PERFUME AD
STYLING
CASTING / CHARACTERS
CINEMATOGRAPHY
THE SET
MAKEUP
CAMERA
PRODUCTS / THE BOTTLE
THE SMELL / FLORA AND FAUNA
SCREENS
FOOD / THE KNIFE
VIGNETTES
THE CORRIDOR / RUNWAY
CHOREOGRAPHY / MOVEMENT
MUSIC / SCORE / BIRTHDAY SONG
THE BAG LADY
EDITING
THE INTERVIEW