Dissertations / Theses on the topic 'Cindy Sherman'
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Urquidi, Nicole Lauren. "Cindy Sherman| Portraits in question." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527024.
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Since her Untitled Film Stills of the 1980s, Cindy Sherman has assumed the roles of artist and model to present a continuum of complex female personas that are embedded within our cultural unconscious. Though we are often reminded that her photographs are not self-portraits, Sherman continues to employ many stylistic conventions of portrait photography. I use this as a means to re-contextualize Sherman's practice within a critical study of portrait photography that will open up new possibilities in reading her work. Using the photographic index, Charles Sanders Peirce's classification of signs, Charcot's nineteenth century photographs of hysterics, and Jacques Lacan's four discourses, I locate Sherman's practice within a complex history of photographic portraiture from the nineteenth century to today's digital landscape to ask where portraiture has been and where it is headed.
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Silva, Marcela Maria Dantas da. "Identidades metamorfoseadas: uma perspectiva de Cindy Sherman." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/15275.
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A presente dissertação, intitulada “Identidades metamorfoseadas. Uma perspectiva de Cindy Sherman”, pretende interpretar a obra de Cindy Sherman como um mecanismo de desconcertação social, isto é, de desconstrução dos estereótipos e dos modos prevalecentes de representação. A partir da descrição e da análise hermenêutica da obra da artista, nomeadamente das séries fotográficas, desde A Cindy Book (1964-1975) até aos Clowns (2003-2004), e em diálogo com alguns dos seus críticos e intérpretes, sustentaremos que os seus trabalhos visam a experiência humana em geral, através da construção de identidades metamorfoseadas. Com vista a suportar esta interpretação da obra de Cindy Sherman, propõe o nosso estudo uma análise detida dos processos de problematização dos estereótipos sociais, da envolvência social do espectacular, da identidade pessoal, do feminino e do queer. Conclui o nosso estudo com a consideração do interesse da obra Cindy Sherman para a compreensão da figura do “outro” no pensamento estético contemporâneo; ABSTRACT:This essay, named “Metamorphosed identities. Cindy Sherman’s perspective”, aims to interprete Cindy Sherman’s work as a social disconcerting mechanism, this is to say, the disconsctrution of the stereotypes and the ways they are represented. From the description and the hermeneutic analysis of the artist’s work, namely the photographic series, from A Cindy Book (1964-1975) to Clowns (2003-2004), and taking into account some of her critics and reviewers, we will support the idea that her work aimed human experience in general, through the construction of metamorphosed identities. To support this interpretation of her work, our essay is based on the detailed analysis of the social stereotypes problematical processes, of the social implication in the spectacular, of the personal identity, of the feminine and of the queer. Our essay draws the conclusion that Cindy Sherman’s work contributes to the understanding of the “other’s” image in the contemporaneous aesthetic throught.
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Bertinato, Flávia Tresinari. "A construção da cena: Cindy Sherman e Stan Douglas." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-21092015-124000/.
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Esta pesquisa tenciona investigar a produção artística de Cindy Sherman (1954-) e Stan Douglas (1960-), partindo da observação dos procedimentos por eles adotados para a produção de suas obras e de seu interesse comum pela natureza da cultura de massa. Pretende-se, ainda, evidenciar os tipos de convenções próprias dos suportes das mídias utilizados para suas imagens e o modus operandi que as mantêm. Grosso modo, entende-se por imagens subsidiadas pela mídia de massa aquelas que são expostas visando ao acesso em grande escala e de forma imediatista.This study aims to shed light on the work of Cindy Sherman (1954-) and Stan Douglas (1960-), and proposes as its start-point not only the procedures that have been used by both of the artists in their creative process, but also the interest they have demonstrated in the mass culture as a subject for their work. In addiction to that, we intend to evince the type of conventions specific to the media in relation to its images and their modus operandi. By and large, it is well known that the repertoire of images subsidized by mass media correspond to those exposed in order to provide immediate access and in large scale.
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Yip, Wai-ka Olivia. "The ritual staging of the self comparing Post-1980s contemporary photography from China and the photographic imagery of Cindy Sherman /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43209877.
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Masanès, Fabrice. "Portrait et travestissement entre peinture et photographie de Gustave Courbet à Cindy Sherman." Paris 1, 1999. http://www.theses.fr/1999PA010601.
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Nous esperons contribuer a l'etude du travestissement en proposant une reflexion sur quelques antecedents a travers la peinture et la photographie, sur leur evolution depuis le xixeme siecle, sur la place prise par l'artiste dans la construction de l'image travestie et la propagation de certains stereotypes ou images communes. Le sujet est ancre dans l'histoire de l'art mais aussi dans l'histoireculturelle. Les outils d'analyse semiotique et psychanalytique, nous ont permis d'en demontrer l'unite et la coherence. Des lors, tout en considerant la nature des transformations operees par les artistes, d'abord dans le champ du portrait, puis dans celui du travestissement, nous ne pouvions isoler les oeuvres de leur contexte factuel, ethnologique et ideologique. Cette recherche devrait permettre d'eclairer d'autres processus a l'oeuvre pour des artistes comme gustave courbet, egon schiele ou cindy sherman. Car si l'image du saltimbanque ou l'image christique sont devenues les paradigmes auxquels on se refere, la pratique du travestissement tend a se deplacer vers un modele critique. Elle utilise ainsi au present les vecteurs que le travestissement a elabores au cours de son histoire enprocedant par redite et reevaluation de nombreux procedes attaches a la pratique du portraitiste. Nous avons ainsi cherche a comprendre les diverses figures du portrait travesti, leur modification dans le temps, en isolant trois grands ensembles successifs. Le premier concerne le procede de l'identification, le deuxieme est articule autour de la notion de jeu ; le troisieme enfin interroge l'evolution de cette forme ludique devenue une forme reflexive dans ce que nous pourrions appeler l'ere du portrait.
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Medeiros, Maria Margarida Abreu de Figueiredo. "Fotografia e auto-representação-identidade e imagens do corpo na obra de Cindy Sherman." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29931.
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Geilert, Gerald. "October-Revolutionen in der amerikanischen Kunstkritik /." München : Fink, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783770547302.
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Souza, Ronaldo Ferreira de 1984. "Um estudo sobre o universo feminino nas obras de Nan Goldin e Cindy Sheran." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284514.
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Orientador: Roberto Berton de ÂngeloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa propõe um estudo das obras das fotógrafas norteamericanas Cindy Sherman e Nan Goldin, mais especificamente dos seus trabalhos Untitled Film Stills e The Ballad of Sexual Dependency, respectivamente. Ambas são artistas de extrema importância para a arte fotográfica contemporânea, possuem praticamente a mesma idade, vivem e trabalham na mesma cidade, escolheram a fotografia como forma de expressão, mas, apesar destas e outras semelhanças, possuem uma produção bem diferente a principio. Enquanto Sherman constrói ficções Goldin registra a realidade a sua volta. Sherman é uma artista que cria cenas, universos, se inserindo dentro destes através de personagens que ela mesma incorpora. A artista cria mundos de representações que abordam toda a cultura, em especial a feminina. Já Goldin trabalha de forma mais instantânea, registra o mundo ao seu redor, guardando momentos, às vezes mais banais, às vezes mais íntimos, dos que a rodeiam e de sua própria vida, tornando público o que antes era privado. Mesmo com processos de criação tão distintos, e com motivações e resultados diferentes, o trabalho das duas fotógrafas pode ser relacionado pela temática do universo feminino que ambos abordam, onde nos é apresentado a vida privada de várias mulheres, sejam elas reais ou ficcionais. Assim, essas produções são postas lado a lado, evidenciando que caminhos diferentes podem levar a um mesmo lugar
Abstract: This research proposes a study of the works of American photographers Cindy Sherman and Nan Goldin, specifically their work "Untitled Film Stills" and "The Ballad of Sexual Dependency", respectively. Both artists are extremely important for contemporary photographic art, have practically the same age, live and work in the same city, chose photography as a form of expression, but, spite of these and other similarities, have a production very different at first. While Sherman builds fictions Goldin registers reality around her. Sherman is an artist who creates scenes, universes, inserting themselves inside of those through personages which she herself incorporates. The artist creates worlds of representations addressing the whole culture, particularly of women. Already Goldin works more instantaneous, registers the world around them, keeping moments, sometimes more banal, sometimes more intimates, of those around her and of your own life, making public what was once private. Even with creative processes so distinct and different motivations and outcomes, the work of the two photographers can be related by the theme of feminine universe they both deal with, where is presented to us the private lives of several women, whether real or fictional. Thus, these productions are placed side by side, showing that different paths could lead to the same place
Mestrado
Multimeios
Mestre em Multimeios
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Kundera, Jan. "Teologicko-estetické konvence v díle J. P. Witkina, Cindy Sherman, Ivana Pinkavy a Václava Jiráska." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78090.
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My reflections, quotations and illustrated supplements are to explain how several contemporary photographic authors accomplish the exceeding and shift in common visual forms by using the traditional "sacred" symbolism of the Christian-Jewish cultural tradition.
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Lindblom, Frida. "Konstnärliga strategier på Instagram : En jämförande studie om Arvida Byström och Cindy Shermans närvaro på Instagram." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78876.
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This essay examines Instagrams as platforms for displaying and promoting art, this by looking at two photo artists, Arvida Byström and Cindy Sherman who are active on Instagram to varying degrees. The essay goes through how their feed is structured and how they shape their feed to reflect their identity as artists. A formal and a semiotic analysis is done on their feeds and selected images from their feeds. The result of the study shows that Arvida Byström uses here instagram to promote her art while Cindy Sherman focus more on her everyday life and shows a more casual approach to Instagram.
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葉慧嘉 and Wai-ka Olivia Yip. "The ritual staging of the self: comparing Post-1980s contemporary photography from China and the photographicimagery of Cindy Sherman." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43209877.
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Siedler, Monica. "Auto-retratos de Cindy Sherman e teatratlidade:um estudo para a composição do movimento e montagem da performance "A1" (UMA)." Universidade do Estado de Santa Catarina, 2007. http://tede.udesc.br/handle/handle/1320.
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Previous issue date: 2007-12-14Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Propõem a construção da performance 1A (UMA), partindo do estudo teórico da teatralidade nos auto-retratos da artista plástica americana Cibdy Sherman. A hipótese levantada é de que a teatralidade na obra de Sherman se evidencia pelo conjunto de suas fotografias, que revelam o jogo de transformação da auto-imagem da artista. O texto se divide em duas partes: a primeira, separada em dois capítulos, apresenta rapidamente artista e obra, para em seguida desenvolver, apoiada em bibliografia especializada das artes visuais, reflexões sucintas pelos auto-retratos de Sherman, através das quais se problematizam a noção de identidade na contemporaneidade, assim como a idéia de arte e artista ligado à noção de originalidade e ao caráter performático do corpo no retrato fotográfico
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Marianacci, Caitlyn D. "Old Masterpieces, New Mistress-pieces: Cindy Sherman's Reinterpretations of Renaissance Portraits of Women." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/840.
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This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.
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Hägertorp, Sara. "Fotografi som medium för att uttrycka identitet : En jämförande analys mellan Cindy Shermans och Francesca Woodmans sätt att arbeta med identitet i relation till ett didaktiskt perspektiv." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96114.
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Syftet med denna uppsats är att jämföra Cindy Shermans och Francesca Woodmans sätt att arbeta med temat identitet och sätta detta i relation till ett didaktiskt perspektiv. Utifrån frågeställningarna: Vad finns det för likheter och skillnader mellan Cindy Shermans och Francesca Woodmans sätt att arbeta med identitet genom fotografi? och Hur kan man utifrån dessa fotografer arbeta med identitet i bildundervisningen? kommer en komparativ analys göras på fyra bilder. Två av Cindy Sherman och två av Francesca Woodman. Resultatet påvisar att Francesca Woodman arbetar med identitet utifrån ett modernistiskt synsätt där inre psykologiska processer och tillstånd uttrycks i fotografiska bilder. Cindy Sherman däremot arbetar med iscensättning av sociala roller och kulturella representationer utifrån ett postmodernistiskt perspektiv.
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Bekker, Ané. "'n Vergelykende ondersoek na die uitbeelding van identiteit in gekose dokumentasie van die Performance art-werke van Cindy Sherman en Berni Searle / A. Bekker." Thesis, North-West University, 2008. http://hdl.handle.net/10394/2310.
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Hertz, Verena Verfasser], and Burcu [Akademischer Betreuer] [Dogramaci. "Die Peripherie des „Everyday America“ im Fokus zeitgenössischer, amerikanischer Photographen : Gregory Crewdson, Cindy Sherman, Stephen Shore, Taryn Simon, Alec Soth / Verena Hertz. Betreuer: Burcu Dogramaci." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2013. http://d-nb.info/1105373835/34.
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Arfara, Aikaterini. "Pour une convergence des arts plastiques et scéniques des années soixante à aujourd'hui : Jeff Wall, Cindy Sherman, Tony Oursler, Elizabeth LeCompte, Roméo Castelluci, Jan Fabre." Paris 1, 2006. http://www.theses.fr/2006PA010571.
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À la fusion des arts dans les années soixante a succédé, durant les années soixante-dix, une volonté artistique de transgresser les interdits des schémas institutionnels au sein des disciplines. La remise en cause du processus créatif est provoquée par un déplacement de point de vue permettant d'insérer, dans des genres spécifiques, des notions inhérentes à. D'autres champs de création. Notre étude portant sur les arts plastiques et les arts de la scène, nous proposons d'éclaircir les composantes de cette voie alternative à partir de l'œuvre des six artistes qui la révèlent aujourd'hui explicitement: Jeff Wall, Cindy Sherman, Tony Oursler, Elizabeth LeCompte, Romeo Castellucci et Jan Fabre, Notre point de départ se situe dans les années soixante, en particulier dans l'art minimal qui a radicalement rejeté la doctrine formaliste pour un art autoréférentiel. Le tracé parallèle de l' œuvre des visionnaires du début du vingtième siècle rejoint notre intention de dépasser le discours restreint du postmodernisme afin de renouer avec les grandes questions de la modernité, Ayant conscience de la complexité des rapports et des risques inhérents à toute entreprise située dans des zones frontières, nous suggérons de faire de la convergence des genres, l'espace intermédiaire pour un nouvel horizon critique, digne de générer une redéfinition de la place de l'art dans la société.
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Lland, Meriel. "An anxious I : stratagems for survival; tropes of autofacture in a manmade world; the works and performances of Frida Kahlo, Madonna Ciccone, Cindy Sherman and Helen Chadwick." Thesis, Keele University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388872.
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Poole, Tanya Katherine. "An exploration of female physicality and psyche and how these inform art-making." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002215.
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This thesis proposes that female physicality informs the psyche and thus in turn, art-making. My argument will be shown to be apposite and informative to the discussion of the work of Paula Rego, Jenny Saville and Cindy Sherman. Furthermore such an understanding is helpful to a reading of my practice. In examining issues of identity, which contribute to the formulation of a distinctly female psyche, I will base my critique on the philosophical positions of Sartre, de Beauvoir and Paglia.
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Astore, Mireille. "The Maternal Abject." University of Sydney. Sydney College of the Arts, 2002. http://hdl.handle.net/2123/500.
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Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.
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Madsen, Viktoria Marie. "TASTE - An investigation on taste and class in relation to - kitsch, art and commodified luxury." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-46105.
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This thesis takes a closer look at the phenomena of taste in relation to kitsch, art and luxury, analyzing a visual campaign, by the luxury brand Louis Vuitton. The visual campaign is made by Louis Vuitton to promote a collaboration with the postmodern artist Cindy Sherman. In her art Cindy Sherman is stepping away from modern aesthetics turning towards nostalgia and, anti- elitism. In a provocative act she brings in traits of kitsch and other pop cultural references to her art and exposes it to a conflicted art world. Using the well accommodated theoretical framework by sociologist Pierre Bourdieu, I seek to understand the underlying class related aspects of taste occurring in the collaboration between the two. In doing so I investigate the very use of Pierre Bourdieu’s theories it self, and I look to answer how these can help with revelation in a contemporary context. Later the use of Roland Barthes theories on modern myths, will be brought into play, when I shell decode the overall mythical story on taste, that Louis Vuitton, wishes to communicate through the campaign. It shell be concluded that Pierre Bourdieu’s theories, was very helpfull with pointing out the campaigns connection to cultural capital and different classified expressions of taste, that connects it to a growing middelclass, who wants an access to the world of luxury. In the very end I debate the question of taste looking forward, taking into consideration Bourdieu’s critics, to whom the classification of taste is a relic from the past.
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Ingelfinger, Antonia [Verfasser], and Anne-Marie [Akademischer Betreuer] Bonnet. "Ekel als künstlerische Strategie im ausgehenden 20. Jahrhundert am Beispiel von Cindy Shermans "Disgust Pictures"." Freiburg : Universität, 2010. http://d-nb.info/1123474230/34.
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Shiao, Ju Huang, and 黃筱茹. "The Alternative Fashion Photography of Cindy Sherman—In Case of《Juergen Teller , Cindy Sherman, Marc Jacobs》." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/8xcd6u.
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碩士國立臺北藝術大學
美術史研究所
100
Abstract In 2004, Cindy Sherman worked with Juergen Teller on an advertisement project for Marc Jacobs. This cooperation was the first time that she created images with another photographer. Fashion is not only the topic that Sherman tries to critic but also the trigger which stimulates Sherman’s grotesque aesthetic. What interesting is that, Sherman now seem to not laugh at fashion anymore; instead she laugh with fashion which reveal the artist’s awareness of the concept of humor and began to re-evaluate the strategy of parody. This paper tries to focus on this cross-field cooperation, to explore the relationship between snapshot and fashion, observes the intricate course of development of the alternative fashion photography. Coming along with art photography’s questioning about real and representation, snapshot and intimate photography subvert the conventions of fashion photography and became the imagery of alternative fashion photography in result. This paper investigates similarities and differences of the photography between Sherman and Teller, sketches the intersection between snapshot, film still, and image- movement. At the end, this paper intends to explore the meaning of the image, which is the combination of Sherman’s art practices and Teller’s instant snapshot, to discuss the image in terms of time, narrative, and the new sensibility of body, as well as the potential significance of the distinctive image.
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Dolan, Kimberly Kathleen. "The threshold of ambiguity in Cindy Sherman's Unititled film stills." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4943.
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Cindy Sherman’s photographic series, Untitled Film Stills, is an icon of postmodern art. The series is comprised of discrete single-frame narratives, which Sherman rendered in the visual vocabulary of mid-century cinematic publicity photography. One of the series’ most unifying features is its pervasive ambiguity, which Sherman has described as a conscious motivation behind the series. Despite the Stills’ continuous, international success, not every photograph in the series has merited uniform popularity, and some are largely absent from the greater circulation of popular and critical discourse. There is, in fact, significant variation in the circulation of individual Stills. I suggest that there is a spectrum of ambiguity in the photographs, and that this spectrum converges with the range of circulation. Within these spectra there are limits to the effectiveness of ambiguity. Therefore, the question that has governed my research is, “What is the threshold of ambiguity in Untitled Film Stills?”text
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Yang, Pei-yung, and 楊珮芸. "Postmodern Photography as Mimicry and Subversion of Canonical Western Pictorial Art : Cindy Sherman and Yasumasa Morimura." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/03239904057867775808.
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碩士南華大學
美學與藝術管理研究所
94
To rebel against tradition has always been the essence of Avant-gardism. Whether it is Duchamp who added a goatee and a moustache over a reproduction of the Mona Lisa, or Dali’s version by directly adding his own face into the painting, these are all pranks played on the so-called ‘masterpieces’ in traditional Western art history. However, by the age of post-modernism, more and more outrageous pranks have been played, and have broadened to include alternative mediums and materials. Since the twentieth century, combined with issues of power, gender, race, etc, along with the attempt to deconstruct Descartes’s subjectivity, a new trend has emerged in its absolute subversive desire against the core of mainstream art. This paper will examine, within the context of postmodernism, how post-modern photography utilizes the concept of mimicry to challenge canonical Western pictorial art. This paper will specifically use the case study of the American female photographic artist Cindy Sherman, and the Japanese male photographic artist Yasumasa Morimura; both are known for their works that combine their self-portrait photographs with traditional ‘masterpiece’ reproductions. The paper will first examine the three phases that began this style of artistic expression: postmodernism as a deconstruction of the Western art canon, postmodern photography as a subversive medium towards painting, and the adoption of mimicry as a creative force with tactical meanings. By using the strategy of mimicry from feminist and post-colonial theories, one can thus decipher the development of different subversive effects on identity symbols in both Sherman and Morimura''s works. Additionally, by examining the combination of the various aspects of the identity politics of the self-portrait, along with a multiple of techniques, such as the photographic self-portrait impersonations etc., it would reveal the imaginative significance of these works to be hybridized and transcendental. This paper will show that Sherman and Morimura’s deliberate self-portrait impersonations have shaken the foundation of the Western art history canon, and exposes both artists’ rebellious intentions and subversive implications.
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Hsiao, Ya-Yun, and 蕭雅云. "A Study on the Destroyed Figure and the Gaze in the Work of Nan Goldin and Cindy Sherman." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/76906772416167624315.
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碩士國立臺北教育大學
藝術與造形設計學系碩士班
104
This thesis investigates the idea of the destroyed figure in the work of two American female artists, Nan Goldin and Cindy Sherman. As a theoretical framework, we use the theory of the gaze to highlight some common themes in their work. Firstly, we discuss how the biographical background and the motives of the two artists influence their creative work. Secondly, we look at the formal aspects of the destroyed figure in their work. Especially in the works they produced in the 1980s we find strong formal elements of destroyed figures. As to the work of Goldin, we study her photographic records of subculture communities. As to Sherman's work, we have a closer look at the phantasmagorical transformation of the female figure. The historical background of our study is the discovery of AIDS in 1981, which left the American society in despair. We will see that both Goldin and Sherman are deeply influenced by the discovery of AIDS, though be it in a very different way. At the end of this thesis we discuss the construction and the deconstruction of the destroyed figure in the work of both artists. We use Laura Mulvey's theory of the male gaze to find out how the figure in the work of Cindy Sherman destroys the gaze's purpose. Laura Mulvey's theory didn't seem sufficient to get a full understanding of the work of Nan Goldin, so new perspectives are needed there. Besides Mulvey, this thesis also involves the thoughts from other feminist thinkers. In Sherman's work we find a fictional world that reveals terror and humour at the same time. The grotesque and the parodic lead to all kinds of unsettling violence in her pictures. Goldin on the other hand gives us an inside into the intimacies of her real life, opening a new perspective on the world and artistic creation. It appears that the worlds of Sherman and Goldin are opposing each other, but it is the wound of the destruction that connects these two artists, as well as the continuous dialogue between the fiction and the real in their work.
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Duguay-Patenaude, Lysanne. "La mise en relief du caractère construit et normatif de la figure féminine dans les images de mode de Cindy Sherman par l'utilisation de stratégies du grotesque." Mémoire, 2012. http://www.archipel.uqam.ca/5085/1/M12585.pdf.
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Ce mémoire porte sur la question du stéréotype féminin dans sa valeur construite et normative. Plus spécifiquement, nous aborderons ce type de catégorisation d'identité de genre mis en relief de manière critique par l'utilisation de stratégies du grotesque dans la série Fashion de Cindy Sherman. En substituant un canon grotesque à la représentation de la féminité à l'intérieur du champ de la photographie de mode haute couture, l'artiste met en évidence les structures qui régissent la création et le maintien d'un tel stéréotype. En premier lieu, nous procéderons à la définition de la notion de stéréotype produit dans le domaine de la représentation médiatique pour démontrer comment celui-ci est naturalisé et partagé culturellement. À l'aide de théories féministes, nous ciblerons la particularité du stéréotype dans sa version « féminine » en tant que sujet passif et soumis à un regard de type masculin. En nous basant sur la pensée foucaldienne, nous verrons qu'un ensemble de règles et de codes identitaires sera intégré à titre de normes dans une discipline du corps féminin. Dans un deuxième temps, nous cernerons de manières conceptuelle et historique la particularité de la mode qui, bien que faite de changements subits et aléatoires, sous-tend une vision statique de la différence des sexes en catégories de genre. Également, nous définirons le vêtement en tant que symbole de mascarade de la féminité qui exige la participation de la femme au jeu de la séduction. Enfin, nous verrons que les stratégies visuelles humoristiques permettent d'appuyer les discours critiques et politiques des pratiques artistiques contemporaines par la déconstruction des structures de la représentation. En dernier lieu, nous observerons les œuvres Fashion de Cindy Sherman, en analysant l'impact qu'elles créent sur les habitudes du corps-regardant par l'insertion de personnages qui défient les conventions de la féminité en mode. En transgressant les limites du présenté et du présentable en photographie de haute couture, l'artiste démontre que la femme est confinée à une logique de domination qui régule sa conduite par diverses instances externes et internes : le regard de l'autre, le rire, l'association de la féminité à la moralité, l'enveloppe vestimentaire, la maîtrise des limites du corps. Au terme de ces recherches, les stratégies du grotesque observées dans l'œuvre de Sherman nous apparaissent comme étant des outils particulièrement efficaces pour permettre une déconstruction de la vision stéréotypée du genre féminin ainsi qu'une mise en évidence des structures qui conditionnent le regard du spectatorat.
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MOTS-CLÉS DE L’AUTEUR : art contemporain, Cindy Sherman, Fashion, stéréotype, genre, féminisme, représentation, mode, humour, grotesque.
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LI, XUAN, and 李萱. "Using ‘’Falling’’ to Examine Women's Art Development and Strategy── A Case Study of Ana Mendieta, Cindy Sherman and Isa Ho." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/znc793.
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碩士國立高雄師範大學
美術學系
104
‘’Fall’’ as a visual symbol, in different cultural context, it carries different cultural meaning. The author found that the female artists often use ‘’fall’’ and other low- stance as visual languages to build female private space, and represented female social situation. The thesis takes the works of Ana Mendieta, Cindy Sherman, Isa Ho as texts for research and analysis for its creative strategy about ‘’fall’’, and sorted out the development of women’s art. Mendieta wrote her text contrary to the male established artistic taste and absorbs creative inspiration from the earth. On the other hand, Sherman overturned the old ways of seeing patriarchy with ‘’abjection’’, thereby disturbing symbolic order and regaining subjectivity. After the wave of feminism revolution receded, the femininity of contemporary visual culture also responded post-feminism. For example, Isa Ho’s works have high similarities to commercial images. It established a paternal affectivity space through adoring and catching the phallic symbol. In the development of contemporary women’s art, ‘’parody performance’’ and ‘’abject behavior’’ are no longer main-stream strategies. It gradually replaced by images that are filled with substantial symbols. In order to respond to affection issues of post-feminism, females fall down autonomously as their seeing ways of crooked angle. On the other hand, they attach their affection on the substantial symbols of phallus, replacing women's social frustrations, so that it can construct contemporary female privacy and inside-affectivity space.
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Dumas, Catherine. "Still untitled = Encore sans titre : création scénique inspirée d'une partie de la série photographique Untitled films stills de Cindy Sherman, suivie d'une réflexion sur les caractéristiques stylistiques postdramatiques et performatives." Mémoire, 2011. http://www.archipel.uqam.ca/4326/1/M12249.pdf.
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La scène théâtrale postdramatique, telle qu'Hans-Thies Lehmann la décrit, a souvent recours à la mise en place d'éléments de réel et de fiction qu'elle proclame comme tels. Ce faisant, elle se rallie à la discipline de la performance et porte le spectateur à percevoir le théâtre en tant que « processus » de création et de représentation. La série photographique Untitled Films Stills de Cindy Sherman interpelle le public d'une façon similaire, par l'ambiguïté entre le réel et le simulacre que le sujet photographié, toujours Sherman, met en place. Nous constatons que plutôt que de présenter des illusions parfaites, le photographique et le postdramatique témoignent d'une volonté de produire des instants fictionnels qui s'affichent pour produire un discours sur le réel, leur pratique et sur les actants qui y participent. Le premier chapitre de ce mémoire convoque quelques théories concernant l'œuvre de Cindy Sherman. Le courant photographique dans lequel sa pratique s'inscrit, ses inspirations majeures, soit Diane Arbus et Andy Warhol, tout autant que l'inscription de sa démarche artistique sur son propre corps, confèrent à l'artiste une grande singularité. Nous appliquant par la suite à l'examen des illustres Untitled Films Stills, nous relevons les raisons pour lesquelles cette série évoque en nous un caractère énigmatique. Nous appuyant sur les théories de Rosalind Krauss, Régis Durand et Arthur Danto, nous soulevons la dualité entre le réel et la fiction que met en lumière l'œuvre de Sherman. Une fois l'œuvre initiatrice exposée, nous définissons les composantes esthétiques générales du théâtre postdramatique en nous attardant davantage au texte, à la présence et à la réception du public. Nous effectuons cette réflexion en regard de l'ouvrage intitulé Le Théâtre postdramatique d'Hans-Thies Lehmann. Nous nous intéressons ensuite à la notion de performance et plus particulièrement à l'idée de « présent continu » et de « marge » du théâtre tels que décrits par Josette Féral. Nous montrons par la suite pourquoi il est judicieux de recourir à la forme postdramatique pour créer notre essai scénique, qui divulgue notre point de vue sur l'œuvre de Cindy Sherman. L'essai scénique produit dans le cadre de cette maîtrise est l'exemple auquel nous recourrons afin de montrer que l'utilisation de quatre caractéristiques stylistiques du théâtre postdramatique (la mise en musique, l'irruption du réel, la parataxe et la simultanéité des actions) peut engendrer un discours à la fois sur l'œuvre citée, notre point de vue par rapport à celle-ci, ainsi que sur l'acte théâtral. Nous présentons comment nous avons décortiqué sur la scène, ce que l'instant et l'acte photographique chez Cindy Sherman condensent et camouflent partiellement à notre avis, révélant ainsi notre point de vue quant à l'œuvre initiatrice de ce projet. Étaler sur scène les souvenirs populaires, qu'évoquent en nous les photographies de Cindy Sherman, nécessite un examen attentif de ce qu'elles renferment. Écrire, mettre en scène et agir à titre de performeuse au sein d'un spectacle qui divulgue notre point de vue sur une œuvre, suppose non seulement de se commettre en tant que personne, mais également d'exposer la mémoire de sa propre culture.
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MOTS-CLÉS DE L’AUTEUR : Théâtre postdramatique, Cindy Sherman, Untitled Films Stills, Photographique, Réel
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Umbelino, Ana Patricia Romão Barreira 1977. "Publicidade e pós-modernismo." Master's thesis, 2012. http://hdl.handle.net/10451/7304.
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Tese de mestrado, Estudos curatoriais, Universidade de Lisboa, Faculdade de Belas Artes, 2012In the late seventies and extending to the eighties of the twentieth century, critical discourse in American visual arts has linked to the post-structuralism theories and observes a disidentification of the artistic activity with the assumptions of the hegemonic modernism. Occurring within that time, the exhibition named Pictures provided guidelines to this statement by pointing out a number of artists who will show oppositions with isolation and elitism of modern art by taking their practice to a critical intervention. For some of these, representation becomes bound with the analysis of the influence of image and also with a sense of the inescapable presence of the visual in cultural space. Because it shares a visual result with photography,the ubiquitous, volatile and fictitious nature of advertising finds through this medium an entry point into art, extending the relationship, always conflicted, between high art and mass culture. The awareness that photography provided another evidence, beyond the functional use of its technical abilities, put a new set of questions that come to dismantle the orthodox conception of modernism, who had Clement Greenberg as the main figure . Cindy Sherman, Barbara Kruger and Richard Prince exemplify an active positioning towards a social, cultural and political issues by observating gender representations, fetishization of consumer goods and denouncing how advertising affects social behavior and individual forms
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Macêdo, Nicoli Braga. "O feminino e o fotográfico : uma visão de Sherman, Ventura e Rennó." Master's thesis, 2017. http://hdl.handle.net/10451/33408.
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Nesta dissertação analisamos os conceitos do Feminino e do Fotográfico, estabelecendo as particularidades que compõem cada um deles. Sobre o feminino realizamos um estudo objetivo presente em meados dos anos de 1970, que engendrou uma mudança significativa na produção das artes visuais, principalmente nos Estados Unidos e Europa, juntamente com o surgimento de movimentos radicais feministas.
Aliados, as artes visuais e os movimentos feministas foram importantes para que houvesse uma proliferação de manifestações, tanto artísticas, quanto sociais, voltadas à crítica dos modelos e pensamentos que viam a mulher em um papel secundário.
O segundo termo, o Fotográfico, advém também do mesmo período histórico, quando novas formas e médiuns artísticos foram explorados neste fazer, e a fotografia adquiriu um papel importante nessa trajetória. O ato fotográfico foi compreendido como uma mensagem que estrutura uma realidade ficcional, construída através do olhar de cada artista, que, nos referidos casos, denuncia códigos ideológicos presentes na sociedade no que diz respeito à composição da imagem da mulher.
A partir desta perspectiva, a dissertação reflete, a partir do trabalho de três artistas: a norte americana Cindy Sherman (n.1954); a portuguesa Júlia Ventura (n.1952) e a brasileira Rosângela Rennó (n.1962), as relações entre o campo da fotografia e orientação figurativa em torno da imagem da mulher. Relacionando as imagens com os reflexos dos desdobramentos sociais, culturais e políticos em torno da formação ideológica da figura feminina, resultantes da ideologia patriarcal.
A análise das imagens, dentro das séries escolhidas em cada uma das artistas, torna-se o cerne das indagações. Deste modo, decompomos o alicerce desses estereótipos restritivos em relação as mulheres e, sobretudo, os contrapor como uma realidade ficcional. Em suma, compreender como as obras são, para além de um resultado dos elementos sociais, críticas e questionadoras dessas problemáticas.On this dissertation we analyze the concepts of the Female and the Photographic, establishing the particularities that compose each one of them. On the feminine we performed a specific study presented in the mid-1970, that has led a significant change in the production of Visual Arts, mainly in the United States and Europe, along with the emergence of radical feminist movements. Allies, visual arts and feminist movements were important, for there would be a proliferation of artistic and social manifestations, as they were directed to criticize social models and thoughts these saw the woman in a secondary role. The second term, the Photographic, also comes from the same historical period, when new forms and artistic mediums were explored. Photography acquired an important role in the foreground in this trajectory. We understand the photographic acts as a message that structures a fictional reality, built through the eyes of each artist, and that, in our cases, denounces ideological codes present in society with regard to the composition of the image of women. From this perspective the dissertation reflects, from the work of three artists: the North American Cindy Sherman (n.1954); the Portuguese Júlia Ventura (n.1952) and the Brazilian Rosângela Rennó (n.1962), relations between the field of photography and figurative orientation around the image of women. Wich we can relate such portraits with the reflections of the social, cultural and political developments around the ideological training of the female figure, a result of patriarchy. The analysis of images, specifically within the chosen series in each of the artists, becomes the core of the inquiries. This way, the goal is to break down the foundation of these restrictive stereotypes, which women are involved, and to counter as a fictional reality. In short, to understand how the works are, beyond a result of social elements, critical and questioner of these problems.
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Wickham, V. Mason. "Architecture and photographic framing: Re-framing the building fragment in its context, and the body in a program of use (Roland Barthes, Brassa\"\i, Daniel Buren, Cindy Sherman)." Thesis, 1993. http://hdl.handle.net/1911/13798.
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This thesis explores the phenomenon of contingency inherent in photographic framing for its application to the design of a public building in an urban context. Like the conception of any duality, as stated by Roland Barthes in his essay Camera Lucida; a photograph exists only in terms of our perception of its frame. This project demonstrates these principles as they are examined in the images of Brassai's Paris, the work of Daniel Buren, and the Untitled Film Stills of Cindy Sherman through the design of a post office in Houston, Texas. The city, the site, the building and the program extend beyond the bounded limits of pure enclosure; and the architecture becomes an inhabitable frame in which the referent adheres to the reference, the fragment to the context, the object to the subject.
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Lopes, Elisabete Cristina Simões. "Desmontando narrativas e corpos : uma reflexão sobre o corpo no gótico feminino na obra poética de Sylvia Plath e Anne Sexton, e na obra fotográfica de Francesca Woodman e Cindy Sherman." Doctoral thesis, 2012. http://hdl.handle.net/10400.2/2372.
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Tese de Doutoramento em Literatura na especialidade de Literatura Norte-Americana apresentada à Universidade AbertaO objectivo desta investigação é o de examinar o modo como Sylvia Plath, Anne Sexton, Francesca Woodman e Cindy Sherman exploraram a representação do corpo da mulher, à luz do gótico, mais especificamente, dentro do enquadramento do gótico feminino. Consequentemente, a obra poética de Sylvia Plath e de Anne Sexton, tal como a obra fotográfica de Francesca Woodman e Cindy Sherman, são exploradas dentro das várias vertentes do gótico: feminino, materno, paterno, doméstico e marital. Elementos tradicionais do gótico, tais como as ruínas, os fantasmas, os monstros, o dopplegänger, o anjo ou a “madwoman” do período vitoriano, conjugam-se com elementos de carácter surrealista (os peixes, as luvas, os espelhos, os cadáveres esquisitos), de forma a ilustrar o modo como o corpo feminino estabelece um diálogo com a geografia do espaço. Neste contexto, é igualmente importante analisar de que forma essas mesmas representações comportam um pendor feminista e determinar como operam enquanto resposta e revisão relativamente ao paradigma patriarcal. No âmbito deste estudo, conceitos operacionais intrinsecamente ligados ao estudo do gótico, tais como o grotesco, o abjecto ou a estranheza, são convocados com o intuito de enriquecer esta análise, no seio da qual o corpo feminino se encontra em permanente flirt com a presença da morte.
This research aims at examining the way Sylvia Plath, Anne Sexton, Francesca Woodman and Cindy Sherman have carried out female’s body representation, in the light of the gothic, specifically within the female gothic setting. Therefore, both Sylvia Plath’s and Anne Sexton’s poetic oeuvre and Francesca Woodman’s and Cindy Sherman’s photography are explored within the various gothic types: female gothic, maternal gothic, paternal gothic, domestic gothic and marital gothic. In this analysis, traditional elements of the gothic, such as ruins, ghosts, monsters, dopplegängers, the angel and the madwoman of the Victorian epoch, combine with surrealist imagery (fishes, gloves, mirrors, cadavres exquis) in order to convey the ways in which the female body engages in a dialogue with the geography of space. In this context, it is important likewise to analyse the feminist essence inherent in those representations, and unveil to what extent they constitute an answer and revision regarding patriarchy. In this research, we resort to theoretical concepts intimately linked to the gothic genre, such as the grotesque, the abject and the uncanny, so as to illustrate a female body which appears constantly flirting with death.
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Trudeau, Beaunoyer Karianne. "Stills, suivi de, Moins «ça-a-été» que «ça-pourrait-être» : fictions et distorsions de l'autoportrait." Thèse, 2017. http://hdl.handle.net/1866/20129.
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Chan, Hua-tzu, and 詹話字. "After Trauma －A Study on Cindy Sherman’s Series of Clowns." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/07171781841941130520.
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碩士國立臺北教育大學
藝術與造形設計學系碩士班
97
The thesis is a study on the images of clown in Cindy Sherman’s work from 2003 to 2004. Sherman started to use herself as model in her photographs from the mid 70s. Her works explore the issues of mass culture, gender and identification. The narrative in the images is one of the major factors that attract attention from the critics. The series of Clowns appeared after September 11 attacks. According to her interviews by critics, the series of clown images was somehow connected with September 11 attacks. In this paper, I try to explore how Sherman represents these images of clown and what she intends to convey to the viewers. The first chapter gives a brief overview on Sherman’s background and analyzes the characteristics and development of her works. In this chapter I also discuss internal and external factors that influence her works. In the second chapter, I investigate clown’s various cultural meanings in our society. The chapter also discusses in detail Sherman’s series of Clown. The last chapter is a further interpretation of the images of Sherman’s clowns by using Bakhtin’s theory of carnival as well as trauma theory. Sherman is a master of parody in the contemporary art. She communicates with her audience through the process of masquerade. Destructing the established values in our society, Sherman makes people think about the pressure and illusion in their lives. The series of Clown shows us what beneath the surface appearance, namely, the different varieties of humanity, is what we should confront.
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Bieger, Isabel Cristina 1979. "Paradigmas do feminismo e da educação pela arte." Master's thesis, 2011. http://hdl.handle.net/10451/4853.
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Tese de mestrado, Educação artística, Universidade de Lisboa, Faculdade de Belas Artes, 2011This research project is about the art work of Joana Vasconcelos, intends to challenge the issue of feminism present in many of their artistic creations, highlighting, simultaneously, in the informal context, visual education and citizenship. It’s, at one time, the assumption of the educational functionality of Art in a non-networked role controversial, challenging, mobilizing and dynamic. The Artist as a persona that moves in a single weaving, where to be it’s having in your hands the thread of the viewer's gaze, which draws crowds, influencing a new generation, a whole new stream of public. Revere here studies on the art of education by some authors who contributed to a significant change in arts education and contributed to the human being becomes more complete, gifted with sensitivity and sense. We call on gender studies, including exhortations about feminism, to explain their historical achievements such as human and who have cooperated in a social development which gained equality between men and women. Thus we talk about the merging of art and feminism by showing examples and opportunities created and achieved by women in a world dominated by men. Constant fights that have lasted to these days. Finally our thread of Ariadne, the artist Joana Vasconcelos, shows us how to take on feminine identity, a mix of attraction and retraction upon to clarify the concept. It turns out the duplicity, the duality, in short, the ambiguity in the work as much in the speech. The process of informal education, formal fascination, but rather the action of citizenship exercised by his works the viewer can go for some unseen, however they shouldn’t be ignored
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Rosůlková, Magdaléna. "Reprezentace genderu na fotografiích nové vlny female gaze." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435554.
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The aim of this work is the qualitative analysis of the new wave of female gaze photographers with a comparison of the female gaze pioneers. For this purpose, there were used photographs by Arvida Byström, Petra Collins, Harley Weir, and Cindy Sherman, Nan Goldin, Corinne Day, which were published in fashion magazines such as Vogue, Harper's Bazaar, i-D, Dazed, and Vice. The theoretical part examined how female identity has been shaped by western culture and dominant ideology, and how patriarchy paradigm has influenced the visual representation of women in art, pop culture, and advertisement. It is shown through key feminist concepts including Simone De Beauvoir, Betty Friedan, Judith Butler, John Berger, Laura Mulvey, theory of young girl, gagafeminism, and xenofeminism. The second part of the thesis is dedicated to social semiotics analysis of each photograph and the results of this research, which show changes of topics in the female gaze content and the shift to social media-related topics and the virtual representation of women. The work could enrich further research in the field of feminist aesthetics, fashion journalism, photography, advertisement, and social media.
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Zhou, Ya-Chen, and 周亞澄. "Cindy Sherman’s History Portraits and the Spectatorship of Feminist Camp and Queer Camp." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/a59j6t.
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張玉筠. "The research in concept of parody for Cindy Sherman's《History Portraits﹐1989-1990》." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/09305734214077684784.
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WU, FU AN, and 吳馥安. "The Time Machine and the Deconstruction of Time in Cindy Sherman’s History Portraits and Yasumasa Morimura’s Art History." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/27836785038089233254.
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碩士國立臺灣師範大學
藝術史研究所
102
The American artist Cindy Sherman (born January 19, 1954) and the Japanese artist Yasumasa Morimura (born June 11, 1951) were often compared and discussed together. Not only because they both became famous in the 1980s, but also because they both use photography as medium and perform themselves a variety of archetypal characters in their artistic works. Both Sherman in her History Portraits series (1988 to1990) and Morimura in his Art History series (1985 to 2001) chose Western art history as subject matter and appropriated canonical paintings to create their artworks. In addition to sexual and cultural issues, the two series of works actually question the issues of time and history. They put into question the notion of art history, as for example the one illustrated and shaped in the museums. Although History Portraits and Art History put history in the title, the two series show paradoxical relations to time and obvious anachronisms. This phenomenon derives from the postmodernist posture, but cannot only be related to postmodernism. It should be traced back to the heterotopias and heterochronies introduced by the end of the 19th century through the multiplication of museums and the invention of cinema. In this thesis, chapter one discusses the anachronisms represented in History Portraits and Art History. Although the strategies used by Sherman and Morimura are different, both of the two series of works represent the confusion of identity and further reflect the confusion of time and space. Sherman and Morimura create their own vision of art history in order to question it. Based on the principles of pastiche, Sherman’s works are kind of bricolage in the sense given by Lévi-Strauss. On the other hand, Morimura creates Art History series with great self-awareness and deliberately designs a realm in which different spaces and times coexist. The two series of works provide also a strange sensation of artificiality and grotesque. It seems that Sherman and Morimura are projecting themselves into a past where they are totally out of place, and the anachronism and incoherence we can detect in their reconstruction of the art history are not without having to do with a paradoxical time travel. Chapter two discusses how Sherman and Morimura put into question the traditional and canonical coherence and structure of the modern museum and the art history. The modern museums have shaped the art history through systematically and chronologically categorizing their collections into different periods and styles. The scientific way of classification can be traced back to the historical portraits gallery of Paolo Giovio during the 16th century and demonstrated by the development of period room in the 19th century. History Portraits and Art History indeed can be paralleled respectively with the portrait gallery and the period room. Rather than reconstructing the past in a coherent way as does the portrait gallery or the period room, the two series neither reconstruct the past and arrange the series in a coherent and chronological way, nor classify them into schools or categories as does the museum. On the other hand, the museum and “museum without wall” free the revered paintings from their own context and scale, and become something ready to combine with other sources. By juxtaposing canonical paintings with fragments of various sources, Sherman and Morimura express their opinion to the canonical art history, and demonstrate the transformation of the notion of time within the museum. Chapter 3 discusses how cinema and the idea of montage influence the notion of time in History Portraits and Art History. In addition to performing different “roles” or stereotypes in their works, both Sherman and Morimura apply cinematic model respectively to their Untitled Film Stills and The Actress series. By assembling heterogeneous sources from various contexts without an integrated consistency, History Portrait and Art History indeed also demonstrate the practice of montage. Under similar context, the 80s science fiction movie Back to the Future trilogy offers an example illustrating the technique of montage and how cinema works as a time machine. Similar to History Portraits and Art History, the movie demonstrates the grotesque and caricatural version of history after the collision of times. While Sherman and Morimura do their time travel in the art history, Back to the Future also illustrates the essence of cinema and reviews the history of it. Morimura’s and Sherman’s series might be in the field of high art, an iconic counterpart of the contemporary popular fiction movie Back to the Future. The way of experiencing the past with irony and assumed anachronism is not so far from the field of movie.