Relevant bibliographies by topics / Cindy Sherman

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cindy Sherman'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Cindy Sherman"

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Zhang, Huiyang. "Cindy Shermans Construction of Female Identity a Practice more than Depthless Pastiche." Communications in Humanities Research 2, no. 1 (2023): 582–90. http://dx.doi.org/10.54254/2753-7064/2/2022629.

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Cindy Sherman, a female post-modern artists, experiments with multiple identities in her artworks to disclose issues related to gender power structures, such as male gaze, voyeurism, and flawed aesthetic pursuits forced by males, and to promote positive female images, scraping off stereotypes of women being emotional, brainless, and dependent. Though she alludes to twentieth-century Holleywood B movies, fashion posters, and fairy tales, the humor and sarcasm used in her work and the groundbreaking feminism ideas altogether leads Cindy Shermans portrait photographs beyond a superfacial use of p
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โปษยานนท์, อภินันท์. "CINDY SHERMAN กระจกเงาที่สะท้อนถึงผู้หญิงอเมริกัน". Journal of Letters 23, № 2 (1991): 103–7. http://dx.doi.org/10.58837/chula.jletters.23.2.8.

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Lin, Xuannan. "Feminine Body Writing in Untitled Film Stills." Lecture Notes in Education Psychology and Public Media 3, no. 1 (2023): 516–22. http://dx.doi.org/10.54254/2753-7048/3/2022576.

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With the rise of postmodernism in the Western world, the development of feminism has gradually revealed the characteristics of postmodernism. Among them, feminine body writing is a good example. However, the academia does not pay much attention to body writing in photography art, which gives some research space for this paper. Therefore, this paper studies Cindy Shermans Untitled Film Stills and uses the theory of feminine body writing which is proposed by Hlne Cixous in The Laugh of the Medusa to explore what Sherman wants to suggest about feminism in Untitled Film Stills. The study has shown
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Šantová, Katarína. "Kdo je Cindy Sherman?" ESPES. The Slovak Journal of Aesthetics 1, no. 1 (2012): 60–64. https://doi.org/10.5281/zenodo.6409722.

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The report introduces the work of Cindy Sherman, a visual and conceptual artist, who has mainly worked in the field of gender and identity politics. The author of the text describes Sherman's best-known series of photographs Untitled Film Still as well as a series of photographs taken for Vogue Paris. Sherman's work is compared to the work of Slovak conceptual artist Lucia Nimcova and her series of photographs called Women. Later in the text, the author describes the field of recipients, divided into men and women, and the emotions they feel and their thoughts,
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LALETAŞ, Meral. "CINDY SHERMAN ESERLERİNDE KİMLİK." Social Sciences Studies Journal 6, no. 73 (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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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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TURAN, Seda Liman. "Cindy Sherman: Grotesk ve Fantazmagori." Turkish Studies-Social Sciences Volume 18 Issue 1, Volume 18 Issue 1 (2023): 211–24. http://dx.doi.org/10.7827/turkishstudies.64237.

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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
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Willams Lucian Belo Ramo. "Cindy Sherman e a Convergência de Diferentes Culturas Visuais no Processo Criativo de suas Fotografias." Diálogos 8 (November 17, 2023): 21–38. http://dx.doi.org/10.53930/27892182.dialogos.8.131.

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Os processos criativos das séries fotográficas de Cindy Sherman, apresentam uma confluência de elementos de diferentes tipos de linguagens, obtida através da performatividade de personagens que esvanecem a figuratividade do seu “eu” autorretratado. As séries fotográficas The Bus Riders (1976), Untitled Film Stills (1977-1980) e Rear Screen Projections (1980-1981) são aqui tomadas como objetos de análise, para refletir sobre as similaridades conceituais existentes entre a sua obra e determinados aspectos da arte contemporânea, discutidos por alguns autores e autoras. Tais séries constitue
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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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<p> Since her <i>Untitled Film Stills</i> 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 classificati
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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 ident
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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.<br>This study aims to shed light on the work
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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 artis
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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 Ângelo<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T16:51:21Z (GMT). No. of bitstreams: 1 Souza_RonaldoFerreirade_M.pdf: 113475591 bytes, checksum: 753526d33e1bb4440040fa9c609b8a72 (MD5) Previous issue date: 2013<br>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 art
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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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Vettori, Irene <1996&gt. "Arte, fotografia e attivismo negli anni Ottanta: tematiche femministe in Barbara Kruger, Cindy Sherman e Verita Monselles." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18252.

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Nel primo capitolo il focus viene posto su un’introduzione del concetto di femminismo, così come la sua applicazione nell’arte e nella fotografia, per poi analizzare i motivi del suo sviluppo e come esso veniva interpretato dalle artiste. Viene sottolineata l’importanza dello sguardo femminile in un ambiente in cui la maggior parte delle volte lo sguardo maschile veniva preso come canone fisso da utilizzare e considerare, e viene evidenziato l’immenso apporto tematico portato dalle artiste nel mondo della fotografia e dell’arte. Nel secondo capitolo vengono presi in analisi tre casi studio di
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Books on the topic "Cindy Sherman"

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Régis, Durand, Criqui Jean-Pierre, Mulvey Laura, et al., eds. Cindy Sherman. Flammarion/Jeu de Palme, 2006.

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Cindy, Sherman, Burton Johanna, and Owens Craig, eds. Cindy Sherman. MIT Press, 2006.

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Els, Barents, and Schjeldahl Peter, eds. Cindy Sherman. 3rd ed. Schirmer/Mosel, 1987.

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Rochelle, Steiner, Moore Lorrie, Serpentine Gallery, and Scottish National Gallery of Modern Art., eds. Cindy Sherman. Serpentine Gallery, 2003.

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Sherman, Cindy. Cindy Sherman. Parco, 1987.

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Sherman, Cindy. Cindy Sherman. Serpentine Gallery, 2003.

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Cindy, Sherman, Burton Johanna, and Owens Craig, eds. Cindy Sherman. MIT Press, 2006.

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Sherman, Cindy. Cindy Sherman. Parco, 1987.

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Sherman, Cindy. Cindy Sherman. Museum Boijmans Van Beuningen, 1996.

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Sherman, Cindy. Cindy Sherman. Whitney Museum of American Art, 1987.

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Book chapters on the topic "Cindy Sherman"

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Eyerman, Charlotte. "Cindy Sherman (1954–)." In Fifty-One Key Feminist Thinkers. Routledge, 2016. http://dx.doi.org/10.4324/9781315558806-40.

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Fromm, Karen, Annette Grund, Barbara Höffer, Helga Lutz, and Valeria Schulte-Fischedick. "Neo-Essentialismen oder die Utopie des subversiven Anderen. Cindy Sherman zwischen feministischer Kunstwissenschaft und postmoderner Theoriebildung." In Kritische Differenzen — geteilte Perspektiven. VS Verlag für Sozialwissenschaften, 1998. http://dx.doi.org/10.1007/978-3-322-89056-6_7.

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Bronfen, Elisabeth. "The Other Self of the Imagination: Cindy Sherman’s Hysterical Performance." In Hysterical Methodologies in the Arts. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66360-5_8.

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"Cindy Sherman." In Verwicklungen des Betrachters. Brill | Fink, 2022. http://dx.doi.org/10.30965/9783846767375_016.

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"Cindy Sherman." In The Hydrogen Jukebox. University of California Press, 2023. http://dx.doi.org/10.2307/jj.5973021.25.

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"Cindy Sherman." In The Hydrogen Jukebox. University of California Press, 1991. http://dx.doi.org/10.1525/9780520913844-023.

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"CINDY SHERMAN." In Die Obsession der Puppe in der Fotografie. transcript-Verlag, 2006. http://dx.doi.org/10.14361/9783839405017-006.

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"CINDY SHERMAN." In Die Obsession der Puppe in der Fotografie. transcript Verlag, 2006. http://dx.doi.org/10.1515/9783839405017-006.

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"Cindy Sherman." In Bachelors. The MIT Press, 1999. http://dx.doi.org/10.7551/mitpress/1504.003.0005.

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"Sherman, Cindy." In The Visual Dictionary of Photography. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2010. http://dx.doi.org/10.5040/9781350088733.0206.

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Conference papers on the topic "Cindy Sherman"

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Boyano lopez villalta, Delia. "El desplazamiento del icono: estrategias de revisión y actualización de la tradición en el audiovisual contemporáneo." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8980.

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La tradición cuenta que Santa Casilda de Toledo era hija de un rey musulmán del siglo XI, que tras convertirse al cristianismo comenzó a llevar pan a los presos cristianos. Cuando un día la detuvieron ante las sospechas de su traición y le pidieron que mostrara su mercancía, los panes que llevaba en su delantal se transformaron, milagrosamente, en rosas. Dentro de la Historia del arte, la hagiografía de la santa es revisada en el siglo XVII por el maestro barroco Francisco de Zurbarán, que la retrata como parte de una serie de cuadros dedicados a mártires cristianas que portan sus objetos de m
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Arruda, Lina Alves. "We won’t play nature to your culture: questões de gênero na obra de Barbara Kruger." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3783.

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Apropriando-se de imagens difundidas pelos meios de comunicação de massa dos anos 1930/1950 e justapondo-lhes um texto lacônico, a artista norteamericana Barbara Kruger desloca o conteúdo das imagens para uma esfera crítica e constrói composições que questionam, com uma abordagem não moralista, os valores e funções sociais estabelecidos. O presente trabalho centrar-se-á na análise da obra Untitled (We won’t play nature to your culture, 1983) para discutir alguns domínios e critérios sociais elaborados a partir da idéia de uma suposta diferença relacional (superioridade e inferioridade) dos gên
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