In Blonde Women Looking Away, Szivlia Ruszev responds to The Broad Museum’s collection of artist and photographer Cindy Sherman alongside “Untitled Films Stills” from the Prelinger Archives. Ruszev explains that the “icon of the Blonde Woman…[evokes] power structures and the objectification of the female body.” The artist suggests watching the video first and then reading the text.


Reused Materials:
Cindy Sherman: ‘Untitled A’ 1975; ‘Untitled B’ 1975; ‘Untitled D’ 1975; ‘Untitled Film Still 03’ 1977; ‘Untitled Film Still 06’ 1977; ‘Untitled Film Still 10’ 1978; ‘Untitled Film Still 11’ 1978; ‘Untitled Film Still 34’ 1979; ‘Untitled Film Still 35’ 1979; ‘Untitled Film Still 36’ 1979; ‘Untitled Film Still 50’ 1979; ‘Untitled Film Still 53’ 1980; ‘Untitled Film Still 81’ 1980; ‘Untitled Film Still 92’ 1981
Folgers Coffee Commercial #6
‘These Girls Are Fools’ 1950
‘Habit Patterns’ 1954
‘Lesson of the Strap’ 50s
1954 Commercial for Rybutol (Ad 3)
SONGSTICKS – tapehead dulcimer, FujaraVoxBass


Szilvia Ruszev is film editor, visual artist and scholar. Her professional work represents a comprehensive approach to independent filmmaking. She worked with internationally acclaimed directors such as Peter Greenaway, Anders Østergaard and János Szász. Her own artistic work relates to very personal moments, certain states of emotional solitude in relation to the Other, both in its particular and abstract notion. Her practice based research uses montage as methodology and toolset seeking for non verbal ways to pose an argument and acquire sensual knowledge. She studied Humanities and Film Theory at the Eötvös Loránd University and Editing at the Film University Babelsberg Konrad Wolf, where she subsequently worked as faculty member in the last six years. She is currently PhD student at the IMAP program at the University of Southern California.