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 April 2022

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Journal articles on the topic "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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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 Ângelo
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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
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
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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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Books on the topic "Cindy Sherman"

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Beuningen, Museum Boymans-van, ed. Cindy Sherman. Rotterdam: Museum Boijmans Van Beuningen, 1996.

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

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Sherman, Cindy. Cindy Sherman. London: Whitechapel Art Gallery, 1991.

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Sherman, Cindy. Cindy Sherman. New York: Whitney Museum of American Art, 1987.

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Sherman, Cindy. Cindy Sherman. Tokyo: Parco, 1987.

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Régis, Durand, Criqui Jean-Pierre, Mulvey Laura, Jeu de paume (Gallery : France), Kunsthaus Bregenz, Louisiana (Museum : Humlebæk, Denmark), and Martin-Gropius-Bau (Berlin Germany), eds. Cindy Sherman. Paris: Flammarion/Jeu de Palme, 2006.

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Sherman, Cindy. Cindy Sherman. London: Serpentine Gallery, 2003.

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

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Sherman, Cindy. Cindy Sherman. Tokyo: Parco, 1987.

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Els, Barents, and Schjeldahl Peter, eds. Cindy Sherman. 3rd ed. München: Schirmer/Mosel, 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, 201–5. Abingdon, Oxon; New York, NY : Routledge, 2016.: 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, 174–94. Wiesbaden: 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, 179–202. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66360-5_8.

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"CINDY SHERMAN." In Die Obsession der Puppe in der Fotografie, 209–92. transcript-Verlag, 2006. http://dx.doi.org/10.14361/9783839405017-006.

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"Cindy Sherman." In The Hydrogen Jukebox, 114–16. University of California Press, 1991. http://dx.doi.org/10.1525/9780520913844-023.

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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, 221. 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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"CINDY SHERMAN." In Die Obsession der Puppe in der Fotografie, 209–92. transcript Verlag, 2006. http://dx.doi.org/10.1515/9783839405017-006.

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Avgikos, Jan. "Cindy Sherman: Burning Down the House." In Illuminations, 300–304. Routledge, 2021. http://dx.doi.org/10.4324/9781003135630-48.

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Childs, Peter. "Photograph(er): Cindy Sherman and the Masquerade." In Texts, 85–93. Edinburgh University Press, 2006. http://dx.doi.org/10.3366/edinburgh/9780748620432.003.0009.

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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. Valencia: 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 martirio. En la pieza performativa “But when she unfolded her apron…” parto de ambas referencias para realizar una actualización de la leyenda medieval. La pieza consiste en una mesa alargada y estrecha con una secuencia de dibujos sobre ella y un rail sobre el que se desliza un rodillo. Durante la performance, la figura de la santa se desplaza a la de la artista/performer que asume su papel dentro de la historia al tomar el rodillo entre sus manos y deslizarlo como si amasara el pan prohibido. Es esta relación cuerpo versus objeto el punto de partida de la actualización de la historia, pues como conexión entre el personaje mítico y yo misma, posibilita dicho desplazamiento. Al manipular el objeto no solo me convierto en la santa sino que además me hago partícipe de su sufrimiento. A lo largo de la ponencia analizaremos el desplazamiento de la figura de la santa a la performer/artista como estrategia de actualización del mito. Me propongo para ello relacionarla con otros desplazamientos en obras de artistas como Cindy Sherman, Coco Fusco o Pilar Albarracín, que emplean este mismo recurso de enmascarar o vestir su identidad con distintos enfoques y resultados.
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