Relevant bibliographies by topics / Sherman, Cindy

Contents

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

Academic literature on the topic 'Sherman, Cindy'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Sherman, Cindy"

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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 (February 28, 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 pastiche, a technique of blank mimicry that Fredric Jameson believes most postmodernists employ. Cindy Sherman achieves a complication in her topics through choices of props and settings, wearing makeups, and employing gestures.
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โปษยานนท์, อภินันท์. "CINDY SHERMAN กระจกเงาที่สะท้อนถึงผู้หญิงอเมริกัน." Journal of Letters 23, no. 2 (July 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 (March 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 that, Cindy Sherman combines feminine body writing with photography, and uses self-direction and selfie to display women trapped in the male gaze, which show her awakening feminine consciousness and her satire on patriarchy. Shermans photographic works play an essential part in the development of feminism.
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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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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 and disciplined by behavioral language and symbolic chains in the media. In addition, this paper tries to prove that Sherman’s critique of female identity is not radical but derived from a revision of the problem. Starting from the source, she distorts the details of traditional works to make the audience feel dissonance and realize the problem independently, finally achieving the purpose of deconstruction. Cindy Sherman attempts to use the method of parody and distortion (by creating dissonance) to illustrate that the discourse construction process of “gender” features is dominated by lots of symbolic features that people are used to performing, and what Sherman wants to deconstruct is not only the concept and characteristics of female identity, but also the limitations of female identity under the background of “performance”, and more the process of how “performance” culture establishes this concept.
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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 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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Dissertations / Theses on the topic "Sherman, Cindy"

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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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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 diversi per osservare sfaccettature delle tematiche femministe e del modo in cui esse si amalgamavano con l’arte. Il primo esempio proposto è quello della fotografa Barbara Kruger, con la sua aderenza al femminismo più politica e aggressiva, fatta di fotografie con scritte e slogan provocatori sotto forma di cartelloni, il secondo caso studio preso in esame è quello di Cindy Sherman, che nelle sue fotografie analizza il tema del femminismo attraverso un’analisi sugli stereotipi dell'immagine, tutti interpretati da lei stessa. Infine l'ultimo caso studio presentato è quello di Verita Monselles, attiva in Italia, che si impegna in una critica dei valori dominanti che vedono la donna come oggetto passivo, rigirandola e trasformando gli uomini in fantocci e lasciando quindi la figura femminile come unica parte vitale della fotografia. Infine il terzo capitolo si dedica a un approfondimento sulle Guerrilla girls, un gruppo di artiste attiviste formatosi inizialmente a New York, delle femministe anonime che vogliono combattere il sessismo e il razzismo nel mondo dell’arte e vogliono portare l’ineguaglianza di genere e razziale come focus nelle discussioni, esponendo discriminazioni e corruzione attraverso poster, libri, cartelloni pubblicitari e apparizioni pubbliche.
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Books on the topic "Sherman, Cindy"

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

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

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

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

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

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

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

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Book chapters on the topic "Sherman, Cindy"

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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 Verwicklungen des Betrachters, 457–525. Brill | Fink, 2022. http://dx.doi.org/10.30965/9783846767375_016.

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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 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 Die Obsession der Puppe in der Fotografie, 209–92. 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, 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 The Hydrogen Jukebox, 114–16. University of California Press, 2023. http://dx.doi.org/10.2307/jj.5973021.25.

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Conference papers on the topic "Sherman, Cindy"

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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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2

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 gêneros e suas repercussões nas estruturas sociais como, por exemplo, a subordinação feminina a um espaço privado e doméstico e sua conseqüente exclusão da cultura. Para tanto, será usado como referência o artigo “Is female to male as nature is to culture?” de Sherry B. Ortner, publicado no mesmo período de produção da obra citada, no qual a autora identifica os fatores de ordem biológica, psíquica e fisiológica que associam a figura feminina à natureza e aproximam o masculino da alta cultura, engendrando uma relação de poder e dominância entre os gêneros, uma vez que se entende a cultura como transcendência da natureza. As obras de B. Kruger discutem a atuação da mídia de massas na criação de uma representação estereotipada da mulher e na reafirmação de sua função doméstica. A escolha deste tema, fruto de uma pesquisa de IC, permitirá a análise de questões relevantes para a arte contemporânea, como a característica pública e engajada das obras, o papel da crítica feminista no campo da arte, além de possibilitar uma comparação com o trabalho de artistas que dialogam com o mesmo tema de forma diversificada, como o coletivo Guerrilla Girls, o qual questiona com veemência a exclusão da mulher da alta cultura e da política e Cindy Sherman, que rebate a identidade feminina construída pela estética da mídia.
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