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Dissertations / Theses on the topic 'Cindy Sherman'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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5

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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6

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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8

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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11

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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Made available in DSpace on 2016-12-08T16:52:05Z (GMT). No. of bitstreams: 1 Monica.pdf: 1656120 bytes, checksum: 5e8cc31dac409f50d0d93a6151f56c1d (MD5) Previous issue date: 2007-12-14<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>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

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Lusty, Natalya. "Surrealism, feminism and psychoanalysis : the crisis of representation in the work of Leonora Carrington, Claude Cahun and Cindy Sherman." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/1685.

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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 t

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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 u

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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 explici

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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 abjec

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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 Bour

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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<br>國立臺北藝術大學<br>美術史研究所<br>100<br>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 t

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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 discours

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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<br>南華大學<br>美學與藝術管理研究所<br>94<br>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,

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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<br>國立臺北教育大學<br>藝術與造形設計學系碩士班<br>104<br>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 Go

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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

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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<br>國立高雄師範大學<br>美術學系<br>104<br>‘’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 inspirat

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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

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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, 2012<br>In 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

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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 q

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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 b

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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 Aberta<br>O 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

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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<br>國立臺北教育大學<br>藝術與造形設計學系碩士班<br>97<br>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 repre

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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, 2011<br>This 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

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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 advertisem

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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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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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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<br>國立臺灣師範大學<br>藝術史研究所<br>102<br>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

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