Journal articles: 'Cindy Sherman'

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LALETAŞ, Meral. "CINDY SHERMAN ESERLERİNDE KİMLİK." Social Sciences Studies Journal 6, no. 73 (January 1, 2020): 5014–19. http://dx.doi.org/10.26449/sssj.2738.

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Loughery, John, and Arthur Danto. "Cindy Sherman: History Portraits." Woman's Art Journal 14, no. 1 (1993): 53. http://dx.doi.org/10.2307/1358437.

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Yang, Su Mi. "A Study on the Aesthetic Properties of Feminism Make-up in Cindy Sherman's Instagram Selfie." Journal of the Korean Society of Cosmetology 27, no. 4 (August 31, 2021): 998–1011. http://dx.doi.org/10.52660/jksc.2021.27.4.998.

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Feminism sheds light on women's identities in a variety of ways, along with criticism of gender discrimination and male-centered thinking. In particular, Cindy Sherman's selfie, known as a feminist photographer, expresses various women's images, showing a new identity of women. This study examined feminism makeup that expresses women's self-identification in the recent emergence of Me Too and feminism, and analyzed feminism makeup in Cindy Sherman's self-portrait to find out its aesthetic characteristics. First, the nature of Cindy Sherman's feminism makeup was expressed as dominant masculinity. Through various typical forms of beard, he strongly emphasized masculinity, and his eyebrows were thick and dark, and his facial contour was manly. The beard is a symbol of masculinity and a facial expression of social status and character, so Cindy Sherman actively expresses herself as a feminine figure with feminism makeup. Second, Cindy Sherman's characteristics of feminism makeup expressed the characteristics of benignity, which are caused by the confusion of femininity and masculinity. It emphasizes a positive image to exaggerate the image of a man with feminine features and a manly hairstyle and long, voluminous eyelashes. This positive image can also be seen in postmodernism Androgenus look or Genderless look, and is also the best characteristic of feminism makeup. Third, Cindy Sherman's feminism makeup characteristics had the characteristics of typistic femininity. She expresses her female identity through the image of a powerless and shabby woman by turning herself from a young movie star to an old woman. Fourth, Cindy Sherman's feminism makeup characteristics express the characteristics of detachment with ugly beauty. Such makeup is unstable in shape, and there are many distorted or modified images, but Cindy Sherman's selfies also showed this ugly look of herself. Fifth, Cindy Sherman's feminism makeup is bizarre and gives grotesque horror in the form of witches or vampires. Witches and vampires, who lack femininity, expressed feminism not in the image of women obedient to patriarchal men, but rather in horror. Sixth, Cindy Sherman's characteristic of feminism makeup is to portray herself as a clown or a clown, or a clown, to represent a caricature. Sherman's clown series is already well known for its makeup that shows feminism in women. The clown always smiles in the costume, but the inner figure symbolizes the repressed and sad woman herself and is an expression of Sherman's own image.

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Loughery, John, and Arthur Danto. "Cindy Sherman: Untitled Film Stills." Woman's Art Journal 12, no. 1 (1991): 56. http://dx.doi.org/10.2307/1358196.

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Kotowska, Katarzyna. "Identités fictives de Cindy Sherman et de Sophie Calle." Cahiers ERTA, no. 28 (December 30, 2021): 162–94. http://dx.doi.org/10.4467/23538953ce.21.040.15190.

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Fictional identities of Cindy Sherman and Sophie Calle In this paper we confront the issue of masquerade in chosen works of contemporary artists Cindy Sherman and Sophie Calle. Referring to Joan Riviere's (1929) statement that femininity is a masquerade, we examine the fictional embodiments of the mentioned artists in which the mask not only conceals but also reveals reality. The artistic and literary corpus is composed as follows: Cindy Sherman (Untilted Film Stills 1977, Society portraits (2008) and Flappers (2016-18)); Sophie Calle (La filature (1981), Les histoires vraies (2002) and Prenez soin de vous (2007)). Following the analysis of the artists' projects and their autobiographical or semiautobiographical approaches, we come to reveal the reversal of the techniques used by the artists. It means that Sherman, like the film stills, captures a moment and immobilizes it; Calle, for her part, gives life to the events that she provokes. However, in both cases the masks they wear, the fictitious identities that the artists embody, contribute to revisit the codes of the time we live in.

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Goudinoux, Véronique. "Questions sur l'art aujourd'hui : Cindy Sherman." Esprit Juin, no. 6 (2006): 140. http://dx.doi.org/10.3917/espri.0606.0140.

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Meagher, Michelle. "Would the Real Cindy Sherman Please Stand Up? Encounters between Cindy Sherman and Feminist Art Theory." Women: A Cultural Review 13, no. 1 (January 2002): 18–36. http://dx.doi.org/10.1080/09574040210122968.

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Więckiewicz, Agnieszka. "Archivization of the Body. Photographs of Cindy Sherman and Alina Szapocznikow." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Filozofia 13 (2016): 73–83. http://dx.doi.org/10.16926/fil.2016.13.05.

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Giżycki, Marcin. "… Zostały tylko fotosy. Nieistniejące filmy Cindy Sherman." Kwartalnik Filmowy, no. 115 (November 16, 2021): 239–48. http://dx.doi.org/10.36744/kf.827.

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Przedmiotem eseju są liczne związki twórczości amerykańskiej fotografki Cindy Sherman z kinem, których przejawem jest nie tylko jej słynny cykl Fotosów bez tytułu (1977-1980), ale też krótki film animowany Ubranka dla lalek (1975), zrobiony jeszcze podczas studiów, oraz horror Morderczyni z 1997 r. Autor zastanawia się, na ile poszczególne fotografie z tego cyklu są inspirowane konkretnymi filmami i jaki jest związek własnych filmów artystki z jej zdjęciami. Przywołuje też twórczość innego znanego artysty, Edwarda Hoppera, w którego obrazach również można dostrzec zatrzymane kadry filmowe. Wreszcie omawia filmy z lat 90. ubiegłego wieku zrealizowane przez innych artystów z pokolenia Sherman: Davida Salle’a, Roberta Longo i Juliana Schnabla.

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Fabris, Annateresa. "Cindy Sherman ou de alguns estereótipos cinematográficos e televisivos." Revista Estudos Feministas 11, no. 1 (June 2003): 61–70. http://dx.doi.org/10.1590/s0104-026x2003000100004.

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Levitt, Laura. "Still Looking: Self-Love, Ethics, and Seeing Jewish." TDR/The Drama Review 55, no. 3 (September 2011): 100–109. http://dx.doi.org/10.1162/dram_a_00100.

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Prieto Millán, Soledad. "Cindy Sherman y la subversión de la identidad." Aisthesis Revista Chilena de Investigaciones Estéticas, no. 59 (2016): 125–41. http://dx.doi.org/10.7764/ais.59.125-141.

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Prieto Millán, Soledad. "Cindy Sherman y la subversión de la identidad." Aisthesis, no. 59 (July 2016): 125–41. http://dx.doi.org/10.4067/s0718-71812016000100008.

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Holland, James Cunning. "Review: Photo Revolution: Andy Warhol to Cindy Sherman." Afterimage 47, no. 1 (2020): 78–85. http://dx.doi.org/10.1525/aft.2020.471014.

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Duarte de Oliveira Medeiros, Brígida. "A autoficção e suas aproximações com Rosângela Rennó e Cindy Sherman." Revista Estado da Arte 2, no. 1 (June 15, 2021): 1–14. http://dx.doi.org/10.14393/eda-v2-n1-2021-59511.

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O presente trabalho anseia investigar a autoficção, e suas aproximações com as obras Espelho Diário (2001) de Rosângela Rennó e Alice Duarte Penna e Untitled Film Stills (1977-1980) de Cindy Sherman. Para tanto, serão primeiramente abordados a origem, os principais predicados e os desencadeamentos que levaram o conceito de autoficção cunhado por Serge Doubrovsky a romper o campo da teoria da literatura e passar a também classificar obras de outras áreas do conhecimento, para então efetivamente traçar suas ligações com as obras de Rennó e Sherman.

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Park, Hee-Jeong, and Ho-Sup Kan. "A Study on the Aesthetic Characteristics of Cindy Sherman's Parody in Contemporary Fashion." Korean Society of Costume 62, no. 2 (February 29, 2012): 55–67. http://dx.doi.org/10.7233/jksc.2012.62.2.055.

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Portas, Danusa Depes. "Cindy Sherman entre-imagens: film stills, gleams and reflection." Revista Contracampo, no. 22 (April 14, 2011): 44. http://dx.doi.org/10.22409/contracampo.v0i22.102.

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A proposta desse ensaio convida à reflexão sobre as relações que travamos com o tempo e no tempo que chamamos de nosso. Em função disso, o valor de contemporaneidade nele referido pressupõe não simplesmente o pertencimento a um contexto cronologicamente delimitado, mas sim uma operação de leitura que problematize esse pertencimento, esse contexto e seus limites e referências temporais, valendo-se das séries fotográficas da artista visual Cindy Sherman como intercessor.

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Dalton, Jennifer, Nikki S. Lee, Anthony Goicolea, and David Henry Brown. "Look at Me: Self-Portrait Photography after Cindy Sherman." PAJ: A Journal of Performance and Art 22, no. 3 (September 2000): 47. http://dx.doi.org/10.2307/3247840.

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Bush, Elizabeth. "Meet Cindy Sherman: Artist, Photographer, Chameleon by Jan Greenberg." Bulletin of the Center for Children's Books 71, no. 2 (2017): 72. http://dx.doi.org/10.1353/bcc.2017.0698.

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Barton, Stephanie. "The Smoky Silence of Mary Karr and Cindy Sherman." Appalachian Heritage 44, no. 2 (2016): 88–95. http://dx.doi.org/10.1353/aph.2016.0003.

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Rena, Aline. "Cindy Sherman e o posicionamento de Untitled #264 em sua produção artística." Revista Concinnitas 20, no. 36 (January 28, 2020): 176–98. http://dx.doi.org/10.12957/concinnitas.2019.47963.

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Este artigo pretende apresentar de forma concisa as diversas séries fotográficas da artista visual americana Cindy Sherman (1954), questionando, com base em entrevistas, artigos críticos, catálogos de exposições e livros sobre o trabalho da artista publicados ao longo de sua carreira, o posicionamento atualmente consolidado da obra Untitled #264 (1992) na série sex pictures.

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Yun, Ji-Young. "Iconological Analysis on Woman and Clothes of Richard Avedon's and Cindy Sherman's Photography." Journal of the Korean Society of Clothing and Textiles 33, no. 1 (January 31, 2009): 115–26. http://dx.doi.org/10.5850/jksct.2009.33.1.115.

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McDonough, Tom. "Human/Capital." October 153 (July 2015): 117–31. http://dx.doi.org/10.1162/octo_a_00229.

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This essay inquires into the vexed place of labor in the work of Cindy Sherman. Noting the curious absence of images of workingwomen among the vast repertoire of feminine types featured in the artist's photographs, it turns to her oft-disparaged film Office Killer (1997) to consider the stakes of representing class and labor within the contemporary regime of neoliberalism. The lead character in this horror film is read as an exemplar of human capital, an “entrepreneur of the self,” and as such, an updated version of the vampire-like tendencies of capital already discussed by Marx a century ago. Moving away from the prevalent psychoanalytic discourse around Sherman's work, the essay attempts to root her production within the larger social relations of present-day labor.

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Strunk, Marion. "Das Bild ist das Bild Zur Fotografie von Cindy Sherman." Die Philosophin 3, no. 5 (1992): 7–10. http://dx.doi.org/10.5840/philosophin1992351.

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Sprague-Jones, Jessica, and Joey Sprague. "The Standpoint of Art/Criticism: Cindy Sherman as Feminist Artist?*." Sociological Inquiry 81, no. 4 (September 29, 2011): 404–30. http://dx.doi.org/10.1111/j.1475-682x.2011.00385.x.

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Ricciardi, Alessia. "Becoming Woman: From Antonioni to Anne Carson and Cindy Sherman." Yearbook of Comparative Literature 56, no. 1 (2010): 6–23. http://dx.doi.org/10.1353/cgl.2010.0003.

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Guimond, James. "Auteurs as Autobiographers: Images by Jo Spence and Cindy Sherman." MFS Modern Fiction Studies 40, no. 3 (1994): 573–91. http://dx.doi.org/10.1353/mfs.1994.0003.

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Baños Gil, María Ángeles. "Dos visiones opuestas del mito de Barba Azul: Gustave Doré y Cindy Sherman." Anales de Historia del Arte 28 (September 25, 2018): 281–96. http://dx.doi.org/10.5209/anha.61616.

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En 1862 Gustave Doré ilustra el cuento de Barba Azul para la recopilación de cuentos realizada por Perrault, un relato didáctico dirigido por el discurso patriarcal. En 1985 Cindy Sherman hace la interpretación según la versión de los hermanos Grimm publicada como Fitcher´s Bird (1992). Sherman da un giro al relato y rompe el hechizo que oculta la realidad. La base teórica parte de la crítica de Jacques Rancière quien nos invita a ser espectadores activos para reconocer el viraje ético de la estética y la política, y de Jack Zipes, interesado en la fantasía y la magia de estos relatos, y cómo a través de ellos, se ha potenciado la ignorancia, lo que Rancière llama «la máquina óptica que forma las miradas en la ilusión y en la pasividad». Asimismo, teóricas feministas como Amelia Valcárcel o Iris Marion Young, son una ayuda indispensable para revalidar la crítica hacia la sociedad machista.

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Filippelli, Sandra Elaine. "AN URBAN WALKABOUT WITH CINDY SHERMAN'S PHOTOGRAPH, "UNTITLED #466, 2008”." Art/Research International: A Transdisciplinary Journal 6, no. 1 (April 22, 2021): 132–50. http://dx.doi.org/10.18432/ari29565.

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In this article, the narrator of the story immerses herself in the interiority of a character depicted in a Cindy Sherman portrait on an art gallery wall. The narrator invites the character out of the photograph and immerses her in the pandemic-stricken city outside. In this way, the author engages with contemporary visual art while composing fictional text as literary art. Her encounter with the photograph becomes an aesthetic visual and literary investigation of art, text, and characterization set against the backdrop of the global COVID-19 crisis.

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Rodríguez- Ahumada, Johanna Fernanda. "Pornografia, abyección y representación: historia de o y sex pictures." Calle 14 revista de investigación en el campo del arte 17, no. 31 (November 10, 2021): 132–47. http://dx.doi.org/10.14483/21450706.18694.

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La pornografía y el erotismo han tenido, a lo largo de la historia, umbrales confusos. No obstante, existen características comunes a estos fenómenos que problematizan el espacio de la corporalidad y que generan nuevas estéticas abyectas, cuyo objetivo es rasgar la pantalla de nuestras mediaciones. Dos propuestas son los objetos centrales de esta investigación: la novela Historia de O (1954) de la escritora francesa Pauline Réage, y la serie fotográfica Sex Pictures (1992) de la artista estadounidense Cindy Sherman.

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Selistre, Jacks Ricardo, and Rosa María Blanca. "Rupturas identitárias na produção artística de Cindy Sherman e Yasumasa Morimura." Palíndromo 10, no. 21 (August 10, 2018): 116–29. http://dx.doi.org/10.5965/2175234610212018116.

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Ackerman, J. Luca, Peter Mustardo, Hanako Murata, and Tatiana Cole. "Cindy Sherman: A Play of Selves. A collaborative approach to conservation." Studies in Conservation 61, sup2 (June 2016): 1–6. http://dx.doi.org/10.1080/00393630.2016.1182811.

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Church Gibson, Pamela. "Cindy Sherman in a New Millennium: Fashion, Feminism, Art and Ageing." Australian Feminist Studies 33, no. 98 (October 2, 2018): 481–97. http://dx.doi.org/10.1080/08164649.2019.1567256.

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Watteau, Diane. "Cindy Sherman ou La Roberte (elle est trop pour être seule)." Savoirs et clinique 28, no. 1 (October 6, 2021): 65–73. http://dx.doi.org/10.3917/sc.028.0065.

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Schneider, Rebecca. "Remembering Feminist Remimesis: A Riddle in Three Parts." TDR/The Drama Review 58, no. 2 (June 2014): 14–32. http://dx.doi.org/10.1162/dram_a_00344.

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Freud's “riddle” that women are, themselves, “the problem” takes on new significance in thinking back through the “remimetic” strategies and tactics of mid-century feminist performance art. What sorts of “problems” arise with the stellar success of women artists in the 2000s, and the new status of “global art star” for artists such as Marina Abramović and Cindy Sherman? What may have been left out of the picture? Perhaps the recent “living archive” re.act.feminism installation by curators Bettina Knaup and Beatrice Stammer may provide some clues.

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Betterton, Rosemary. "Promising Monsters: Pregnant Bodies, Artistic Subjectivity, and Maternal Imagination." Hypatia 21, no. 1 (2006): 80–100. http://dx.doi.org/10.1111/j.1527-2001.2006.tb00966.x.

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This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and “prosthetic” pregnancy, it asks whether the “monstrous” can offer different kinds of figurations of the maternal that acknowledge the agency and potential power of the pregnant subject.

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Leitão, Juliana Andrade. "INSTAGRAM COMO LUGAR DE CONFLITO ENTRE A FOTOGRAFIA ARTE E TODAS AS DEMAIS MANIFESTAÇÕES FOTOGRÁFICAS QUE PERMEIAM ESTA REDE SOCIAL." Projeto História : Revista do Programa de Estudos Pós-Graduados de História 71 (September 1, 2021): 98–127. http://dx.doi.org/10.23925/2176-2767.2021v71p98-127.

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O artigo a seguir analisa a imagem fotográfica e suas interrelações com o universo da arte a partir de perfis dentro do território compartilhado do Instagram. O texto debate algumas inquietações no campo da imagem fotográfica produzida hoje e perpassa por questões clássicas da ontologia da imagem técnica. A análise recai sobre a rede social e observa a incorporação de diversos estilos de fotografia. No intuito de refletir sobre os deslocamentos de espaços de trabalhos artísticos para a rede social, analisamos os perfis de Vera Holtz, Cindy Sherman, Yasmin Formiga e Amanda Pietra, para compreender esses processos.

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Meagher, Michelle. "Against the Invisibility of Old Age: Cindy Sherman, Suzy Lake, and Martha Wilson." Feminist Studies 40, no. 1 (2014): 101–43. http://dx.doi.org/10.1353/fem.2014.0023.

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Szempruch, Matylda. "Twórczość feministyczna a kobieca podmiotowość: ujęcie monstrualne." Przegląd Humanistyczny, no. 64/4 (April 20, 2021): 73–83. http://dx.doi.org/10.31338/2657-599x.ph.2020-4.5.

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The article shows the relationship between philosophical thought and feminist art in terms of searching for subjectivity in women’s creations. This is a review of the theories proposed by Luce Irigaray, Hélène Cixous, Julia Kristeva, and by Judith Butler, Donna Haraway, and Rosi Braidotti, which, as this article proves, manifest themselves in the art that defines itself as feminist. Monstrosity is an important prospect here. The author presents écriture féminine and women’s literature, namely Charlotte Roche’s Wet Places and Izabela Filipiak’s Total Amnesia. Moreover, visual arts by Cindy Sherman, Chili Kumari Burman, Jo Spece, as well as a performance by Carolee Schneemann and ORLAN are discussed.

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Leal Junior, Milton De Andrade, and Barbara Biscaro. "Butterfly e a dramaturgia do movimento: da figura à transfiguração do corpo - construindo Kate Sherman." DAPesquisa 2, no. 4 (November 26, 2019): 098–106. http://dx.doi.org/10.5965/1808312902042007098.

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O presente artigo é resultado de uma pesquisa teórico-prática que discute as relações entre os procedimentos técnicos do treinamento do ator e a construção de novas abordagens dramatúrgicas nas artes cênicas. A noção de um espaço dramatúrgico que deve ser edificado revela-se como um terreno fértil para o jogo e para a criação do movimento e define a busca de significação e construções simbólicas em sala de trabalho e sua aderência no campo da pesquisa teórica e dramatúrgica. A partir da contextualização temática, passa-se a tratar do processo de composição da personagem Kate Sherman para o espetáculo “Butterfly”, resultado prático desta pesquisa, descrevendo procedimentos utilizados e relacionando-os com termos como o grotesco. A artista plástica norte-americana Cindy Sherman é citada, como uma das principais bases de inspiração e apropriação de procedimentos para a composição da personagem. Deste modo, compreende-se como o processo prático de construção do ator dialoga com pesquisas teóricas, criando um espaço de reflexão e compreensão dos materiais abordados no processo da pesquisa e da composição de uma dramaturgia pautada no movimento corporal.

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Portas, Danusa Depes. "EX-ISTO: O OLHAR NO CAMPO EXPANDIDO." Fragmentum, no. 51 (December 31, 2018): 205. http://dx.doi.org/10.5902/2179219431889.

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A crescente tendência nos estudos dos meios de comunicação pela dimensão transnacional do tráfico e a produção de imagens acompanham o deslocamento dela ao centro dos debates sobre o papel da representação nas culturas globais contemporâneas. Estas questões consubstanciam-se em problemas-chaves fundamentais: a hibridação dos campos disciplinares da literatura, fotografia, cinema, arte em um contexto internacional; a relação entre a imagem e o arquivo, com respeito à memória, à história, à justiça. No horizonte destes problemas, o trabalho objetiva distinguir o papel constitutivo da imagem do autor na dinâmica da imaginação teórica ocidental e as funções políticas dos agenciamentos memorialísticos de que se revela portador, valendo-se da obra de Cindy Sherman como intercessor.

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Carrier, David. "ANDY WARHOL AND CINDY SHERMAN: THE SELF-PORTRAIT IN THE AGE OF MECHANICAL REPRODUCTION." Source: Notes in the History of Art 18, no. 1 (October 1998): 36–40. http://dx.doi.org/10.1086/sou.18.1.23205034.

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Gonçalves, Fernando. "Inatualidade e anacronismo na fotografia contemporânea." Galáxia (São Paulo), no. 33 (December 2016): 131–44. http://dx.doi.org/10.1590/1982-25542016226628.

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Resumo O artigo discute as condições de individuação da chamada fotografia contemporânea a partir do exame da noção de anacronismo em diferentes autores e de obras de artistas como Jeff Wall e Cindy Sherman. A construção da discursividade visual na arte como questão de comunicação é formulada através da ideia de que haveria uma inatualidade em certas imagens do presente, percebida pelos traços persistentes de questões e de imagens de outros tempos, particularmente relativos à história da arte. A pertinência de se pensar a experiência do fotográfico na arte reside nas contribuições que esta apresenta para se discutir aspectos propriamente comunicativos da fotografia, particularmente a representação e as operações que nela ordenam o visível e mediam nossas relações com o mundo através da imagem.

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Braga, Paula. "Selfie: o autorretrato do sujeito contemporâneo." ARS (São Paulo) 19, no. 42 (November 29, 2021): 643–90. http://dx.doi.org/10.11606/issn.2178-0447.ars.2021.180880.

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As redes sociais são lugares de exibição de fotografias amadoras e campo de experimentação artística. São também dispositivos que impactam a subjetividade e a democracia, beneficiando interesses do neoliberalismo, e que geraram um novo capítulo na história da fotografia, a selfie, cujo estudo exige uma metodologia interdisciplinar. Este artigo propõe que a selfie remete à auto-objetificação. Esta hipótese é investigada referindo-se à teoria da fotografia de Philippe Dubois, a conceitos da psicanálise e a diagnósticos de Achille Mbembe e Giorgio Agamben sobre os efeitos do capitalismo avançado na subjetividade. Por fim, analisa a selfie nas obras de Amalia Ulman, Aleta Valente e Cindy Sherman, discutindo os limites das redes sociais como lugar de circulação da obra de arte.

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Sperling, Jutta. "The Anachronic Madonna Lactans: Impersonations of the Nursing Virgin by Cindy Sherman, Catherine Opie, and Vanessa Beecroft." Zeitschrift für Kunstgeschichte 84, no. 3 (September 1, 2021): 408–40. http://dx.doi.org/10.1515/zkg-2021-3005.

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Abstract This article examines Cindy Sherman’s Untitled #216 (1989), Catherine Opie’s Self-Portrait/ Nursing (2004), and Vanessa Beecroft’s White Madonna or VBSS.002 (2006) in relation to the medieval and Renaissance artworks these photos quote and re-instantiate: Jean Fouquet’s Virgin of Melun (1452–1455); Ambrogio Lorenzetti’s Madonna del Latte (1325–1335) and Leonardo da Vinci’s Litta Madonna (1490s); and Tino di Camaino’s Charity (1321) and Jan van Eyck’s Lucca Madonna (1436), respectively. This juxtaposition — framed by reference to Alexander Nagel’s and Christopher Wood’s concept of “anachronism” and to Aby Warburg’s notion of the Pathosformel — helps us ask new questions and gain new insights about the “old masters” under discussion.

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Callens, Johan. "Anne-Marie Boisvert, Manon Oligny, and Thomas Israël: Three Artists in Search of Cindy Sherman." TDR/The Drama Review 54, no. 1 (March 2010): 39–58. http://dx.doi.org/10.1162/dram.2010.54.1.39.

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One dancer, one choreographer, one filmmaker. Together they recursively confront Sherman's by now famous, gender-inflected, photographic self-enactments, probing the conventions and lingering specificity, if any, of the media and art forms in our hybridized digital culture. In their intermedial performances, these media and art forms become the means and the objects of analysis.

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S. Branco, Luís Carlos. "Reencenação e pós-apocalipse na obra fotográfica de Francesca Woodman." Jangada: crítica | literatura | artes 1, no. 14 (December 22, 2019): 39–57. http://dx.doi.org/10.35921/jangada.v1i14.234.

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A obra fotográfica de Francesca Woodman surge integrada numa geração estadunidense de fotógrafas, ainda imbuídas do espírito da segunda vaga feminista, nos anos setenta, da qual fazem parte Ana Mendieta e Cindy Sherman, entre outras. Para além da evidente qualidade estética, a obra de Woodman é profundamente questionadora dos papéis de género, que tende a inverter e a rasurar nas suas fotografias sempre de modo pertinente. Neste sentido, são particularmente significativos os seus tableaux vivants fotográficos, nos quais recria quadros célebres do cânone artístico mundial e de passagens bíblicas, questionando assim, nas suas recriações, não só as noções de género, mas também a própria validade da historiografia artística oficial, dominada pelo ponto de vista masculino. Simultaneamente, as suas fotografias configuram um mundo pós-apocalíptico e propõem uma utopia de índole feminista como resposta. Pretendo analisar com detalhe os elementos referidos.

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Perkins, Emma Gillespie, and Ann Andaloro. "Photo Opportunities: Contemporary Photographers Cindy Sherman and JEFF Wall as Models for Artistic and Teaching Identities." Art Education 61, no. 2 (March 2008): 102–14. http://dx.doi.org/10.1080/00043125.2008.11651151.

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De Oliveira, Luiz Sérgio. "The Artist, the Image and the Self: Representation in Rembrandt, Bacon, Mapplethorpe, Sherman, and Nan Goldin." Barcelona Investigación Arte Creación 7, no. 1 (February 6, 2019): 30. http://dx.doi.org/10.17583/brac.2019.2263.

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Before photography, only painters, printmakers, and sculptors could tell, through self-portraits, how they saw themselves and how they were perceived. In the past, only artists had the resources to capture and picture themselves. From one brushstroke to another, this mediated gesture marked the perception of the self. Western art highlights numerous works from artists who wrote the history of culture through portraiture and self-representation. In contemporary art, some artists have been able to explore new means to investigate new possibilities of representing the self. In the past, painters seemed to scrutinize the mirror in search for hidden truths; in our era, however, dominated by uncertainty, ambiguity, and speedy records that carry out their obsolescence, new issues cross the representation in contemporary art. It is undeniable that the history of art reveals how self-representation has been an essential tool for artists, regardless of the historical time in which they are inserted, in their search to reflect on themselves and their relations with the world. In the face of an immensely large and virtually inexhaustible universe, in this study we focus on five artists: Rembrandt, Francis Bacon, Robert Mapplethorpe, Cindy Sherman, and Nan Goldin.

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Knafo, Danielle. "Dressing Up and Other Games of Make-Believe: The Function of Play in the Art of Cindy Sherman." American Imago 53, no. 2 (1996): 139–64. http://dx.doi.org/10.1353/aim.1996.0002.

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Journal articles on the topic 'Cindy Sherman'

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