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Journal articles on the topic 'Cindy Sherman'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

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 (2002): 18–36. http://dx.doi.org/10.1080/09574040210122968.

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13

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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14

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. Wre

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15

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

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16

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

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17

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 (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 masculinit

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18

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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19

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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20

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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21

Lins e Silva Dutra, Gabriel. "Cindy Sherman e Robert Mapplethorpe lado a lado." Discursos Fotograficos 22 (May 20, 2025): e51986. https://doi.org/10.5433/1984-7939.2025.v22.51986.

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Este artigo faz uma análise comparativa entre duas obras fotográficas de dois fotógrafos norte-americanos: Cindy Sherman e Robert Mapplethorpe, respectivamente a foto #255 da série Sex Pictures e o “Autorretrato com chicote”. Nosso interesse em tais obras é seu potencial crítico para as questões que giram em torno da relação entre fotografia, estética contemporânea, teoria queer e políticas identitárias nos dias de hoje. Após fazer uma contextualização histórica, é feita uma descrição dos elementos visuais das fotografias com base na semiótica visual segundo Leon (2017), que serve de subsídio

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22

Duarte de Oliveira Medeiros, Brígida. "A autoficção e suas aproximações com Rosângela Rennó e Cindy Sherman." Revista Estado da Arte 2, no. 1 (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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23

Aydın, Gül. "Çağdaş Sanatta Feminist Perspektiften Kimlik, Beden ve Cinsiyet Eşitliği Üzerine İmgeler." Bodrum Journal of Art and Design 4, no. 1 (2025): 75–93. https://doi.org/10.58850/bodrum.1597580.

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Bu makale, çağdaş sanatta toplumsal cinsiyet, kimlik ve beden temsillerini feminist bir perspektiften incelemektedir. Birçok sanatçı ve teorisyen, kadın kimliğinin kültürel inşasını ve toplumsal normlar aracılığıyla nasıl dayatıldığını ele alarak toplumsal eşitsizlikleri görünür kılmaya çalışmaktadır. Çalışma, Barbara Kruger, Cindy Sherman, Tracey Emin ve Lorna Simpson’un eserlerine odaklanmaktadır. Kruger, güçlü bir dil ve medya eleştirisiyle toplumsal baskılara dikkat çekerken; Sherman, fotoğraf sanatında kadın kimliğini değişken ve inşa edilen bir olgu olarak sunar. Emin, kişisel deneyimler

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24

Chen, Liangfei. "The Female identity being performed -- Gender rebellion in Cindy Sherman’s photography." SHS Web of Conferences 174 (2023): 02015. http://dx.doi.org/10.1051/shsconf/202317402015.

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Cindy Sherman is a post-modernist artist who uses photography to question and deconstruct traditional images of women. Sherman’s Untitled Film Stills is a female self-portrait “parody”, showing the performative characteristics of “female behavior” in many places. Judith Butler pointed out that the construction of female gender identity comes from “performativity”, which has a connection to Sherman’s work. Based on Judith Butler’s gender theory, this paper analyzes Sherman’s artistic techniques and the content of her works, pointing out how women’s identities and bodies are subtly constructed a

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25

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 (2000): 47. http://dx.doi.org/10.2307/3247840.

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26

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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27

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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28

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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29

Kübra, ŞAHİN ÇEKEN. "CİNDY SHERMAN'IN KENDİNE MAL ETTİĞİ MERYEM VE ÇOCUK İSA KARESİ #216." NEW ERA INTERNATIONAL JOURNAL OF INTERDISCIPLINARY SOCIAL RESEARCHES 8, no. 19 (2023): 10–20. https://doi.org/10.5281/zenodo.8186263.

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Modern sanat ürünlerinin biriciklik (teklik) ya da yaratıcı bir orijinal (saf) olma eğilimine tepki olarak doğan “kendine mal etme” eylemi, sanatsal üretimde yeni bir şey üretme imkânsızlığını dile getirmek amacıyla geliştirilmiştir. Sanatçı tarafından kendine mal edilen eserin orijinalliği korunarak, yeni bir bağlamda yeniden varlık kazanır. Kuşkusuz alıntılanan yapıt, zaman açısından değişime uğrar ve alıntılayan sanatçı kendinden bir parça ekleyerek günceller.  Postmodern sanat içinde bir teknik olarak kendin

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30

Rena, Aline. "Cindy Sherman e o posicionamento de Untitled #264 em sua produção artística." Revista Concinnitas 20, no. 36 (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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31

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 (2012): 55–67. http://dx.doi.org/10.7233/jksc.2012.62.2.055.

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32

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 (2009): 115–26. http://dx.doi.org/10.5850/jksct.2009.33.1.115.

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33

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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34

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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35

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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36

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

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37

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

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38

Schraiber, Rogério Tubias, and Reinilda de Fátima Berguenmayer Minuzzi. "“Entre rostos”: a transfiguração da aparência no autorretrato em diálogo com Cindy Sherman." Palíndromo 15, no. 36 (2023): 1–22. http://dx.doi.org/10.5965/2175234615362023e0012.

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Neste artigo discute-se a transfiguração da aparência nos autorretratos da série “Entre Rostos”, em um diálogo com as obras da artista Cindy Sherman, como problemática de pesquisa. O objetivo é analisar, nessa transfiguração, como o referente, ou seja, o rosto, se comporta na modificação das aparências. A abordagem metodológica do processo criativo está embasada nas três dimensões de Rey (2002), sendo a abstrata, a prática e a da obra em processo. A partir da série resultante de autorretratos faz-se uma análise estabelecendo relações com as obras de Sherman. Os resultados mostram que a transfi

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39

Filippelli, Sandra Elaine. "AN URBAN WALKABOUT WITH CINDY SHERMAN'S PHOTOGRAPH, "UNTITLED #466, 2008”." Art/Research International: A Transdisciplinary Journal 6, no. 1 (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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40

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 (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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41

Lafargue, Bernard. "Quatre fameux cons." Figures de l'Art. Revue d'études esthétiques 4, no. 1 (1999): 515–41. http://dx.doi.org/10.3406/fdart.1999.1220.

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Des Vénus préhistoriques, qui exhibent fièrement leur vulve féconde et leurs seins gonflés aux «pinocchias » vieilles et dégueulasses de Cindy Sherman qui gisent à moitié mortes, le vagin dégueulant des étrons, en passant par le petit con luisant d’Aphrodite et le cône immaculé de La (V)ierge (M)arie, s’écrit et se boucle une des plus riches Heures de l’histoire de l’art et de l’humanité : l’histoire du con. Cet article envisage ses quatre plus fameuses figures.

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42

Yang, Hwaseon. "A Study on the Gaze and Subjectivity of Women in Visual Art: Focused on Cindy Sherman and Caroline Walker’s Works." Korean Society of Culture and Convergence 45, no. 4 (2023): 321–32. http://dx.doi.org/10.33645/cnc.2023.04.45.04.321.

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This study focuses on the status and role of women through the art works of two female artists, Cindy Sherman(1954~) and Caroline Walker(1982~). The works of both Sherman, a representative second-generation feminist artist who has received critical attention since the end of the 1970s, and Walker, who grew up under the influence of post-feminism, portray women who reveal various social, cultural, and economic differences in modern society. Both artists focus on the traditional female image and gaze that still exists behind the status of women and female artists as well as the subjectivity of w

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43

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

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44

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

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45

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

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46

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 (2016): 1–6. http://dx.doi.org/10.1080/00393630.2016.1182811.

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47

Schneider, Rebecca. "Remembering Feminist Remimesis: A Riddle in Three Parts." TDR/The Drama Review 58, no. 2 (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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48

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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Colard, Jean-Max. "Filmographies." Textuel 34/44 52, no. 1 (2007): 87–97. https://doi.org/10.3406/textu.2007.1740.

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«Nos existences ressemblent aujourd’hui à la filmographie d’un acteur, d’une actrice. Soit un parcours discontinu, irrégulier, constitué de périodes (blonde, brune), ponctué d’apparentes métamorphoses, de revirements amoureux, de liftings rajeunissants, - soit donc un montage de situations qui sont comme autant d’épisodes, de plans séquences où l’on investit tour à tour différents rôles»... De Cindy Sherman au personnage d’Ann Lee, en passant par la série «Catherine» de Thomas Lélu, Jean Max Colard déroule le film de ces personnages dont les métamorphoses reposent continuellement la question d

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Pašteková, Michaela. "Aesthetics of Photography in the Era of Instagramism." ESPES. The Slovak Journal of Aesthetics 7, no. 1 (2018): 38–46. https://doi.org/10.5281/zenodo.6377875.

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For students of photography who were born in the digital era, publications and magazines about photography are no longer the reference sources of information, but it is the social platform Instagram. There, they are looking not only for current aesthetic trends, but they also actively use Instagram in their art projects. Lev Manovich calls this modern phenomenon Instagramism. In our paper we look at the basic features of his aesthetics. Than, we will compare how established artists such as Cindy Sherman, Richard Prince and Czech photographer Li

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