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Journal articles on the topic 'Sherman, Cindy'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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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 (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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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 constituem o início da prática fotográfica de Cindy Sherman e paralelamente, corroboram para uma compreensão mais aprofundada sobre a relação existente entre as culturas visuais e a arte contemporânea. Deste modo, no presente artigo são tecidas algumas reflexões analíticas que levam em consideração as características técnicas percebidas nessas séries fotográficas, a fim de discorrer teoricamente sobre como os processos criativos de Cindy Sherman, estabelecem um diálogo entre a fotografia e outras formas das estéticas visuais contemporâneas.

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12

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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13

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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14

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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15

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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16

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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17

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

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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

Duarte de Oliveira Medeiros, Brígida. "A autoficção e suas aproximações com Rosângela Rennó e Cindy Sherman." Revista Estado da Arte 2, no. 1 (June 15, 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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22

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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23

Rena, Aline. "Cindy Sherman e o posicionamento de Untitled #264 em sua produção artística." Revista Concinnitas 20, no. 36 (January 28, 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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24

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

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25

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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26

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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27

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 (February 29, 2012): 55–67. http://dx.doi.org/10.7233/jksc.2012.62.2.055.

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28

McDonough, Tom. "Human/Capital." October 153 (July 2015): 117–31. http://dx.doi.org/10.1162/octo_a_00229.

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This essay inquires into the vexed place of labor in the work of Cindy Sherman. Noting the curious absence of images of workingwomen among the vast repertoire of feminine types featured in the artist's photographs, it turns to her oft-disparaged film Office Killer (1997) to consider the stakes of representing class and labor within the contemporary regime of neoliberalism. The lead character in this horror film is read as an exemplar of human capital, an “entrepreneur of the self,” and as such, an updated version of the vampire-like tendencies of capital already discussed by Marx a century ago. Moving away from the prevalent psychoanalytic discourse around Sherman's work, the essay attempts to root her production within the larger social relations of present-day labor.

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29

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 (January 31, 2009): 115–26. http://dx.doi.org/10.5850/jksct.2009.33.1.115.

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30

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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31

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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32

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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33

Sprague-Jones, Jessica, and Joey Sprague. "The Standpoint of Art/Criticism: Cindy Sherman as Feminist Artist?*." Sociological Inquiry 81, no. 4 (September 29, 2011): 404–30. http://dx.doi.org/10.1111/j.1475-682x.2011.00385.x.

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34

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 a través de ellos, se ha potenciado la ignorancia, lo que Rancière llama «la máquina óptica que forma las miradas en la ilusión y en la pasividad». Asimismo, teóricas feministas como Amelia Valcárcel o Iris Marion Young, son una ayuda indispensable para revalidar la crítica hacia la sociedad machista.

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35

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 (May 25, 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 transfiguração da aparência e o disforme ocultam o "referente do artista" (seu rosto), produzindo uma beleza de outra ordem pela qual se manifesta o "referente de artista" (modo específico do artista transfigurar seu rosto no autorretrato). Conclusivamente, percebe-se que o primeiro referente se camufla com uma segunda identidade, que é sua tanto quanto a primeira, e que só é revelada quando essa se empenha na sua transfiguração.

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Filippelli, Sandra Elaine. "AN URBAN WALKABOUT WITH CINDY SHERMAN'S PHOTOGRAPH, "UNTITLED #466, 2008”." Art/Research International: A Transdisciplinary Journal 6, no. 1 (April 22, 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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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 (November 10, 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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38

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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39

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 (April 30, 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 women. Walker goes on to explain how the characters in her works, particularly the reality of women performing invisible jobs and female immigrants, are related to women's labour and subjects.

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40

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

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41

Watteau, Diane. "Cindy Sherman ou La Roberte (elle est trop pour être seule)." Savoirs et clinique 28, no. 1 (October 6, 2021): 65–73. http://dx.doi.org/10.3917/sc.028.0065.

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42

Church Gibson, Pamela. "Cindy Sherman in a New Millennium: Fashion, Feminism, Art and Ageing." Australian Feminist Studies 33, no. 98 (October 2, 2018): 481–97. http://dx.doi.org/10.1080/08164649.2019.1567256.

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43

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

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Schneider, Rebecca. "Remembering Feminist Remimesis: A Riddle in Three Parts." TDR/The Drama Review 58, no. 2 (June 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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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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Barros, Ligia de Oliveira. "ENTRE A PINTURA E A FOTOGRAFIA." Art&Sensorium 3, no. 2 (December 25, 2016): 109–24. http://dx.doi.org/10.33871/23580437.2016.3.2.109-124.

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Este estudo tem como objetivo principal a concepção de um autorretrato pictórico com referência a uma fotografia da artista Cindy Sherman (1954), intitulada "Untitled Film Still-2" . No texto, as abordagem se desenvolve com uma breve contextualização do autorretrato na História da Arte, com exemplos de autorretratos pictóricos da artista renascentista Sofonisba Anguissola, repercussão na arte com o advento da fotografia e a descrição do processo criativo do trabalho artístico desenvolvido com esta pesquisa. Por fim, as considerações finais, abortando a reflexão sobre a concepção de um autorretrato.

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Leitão, Juliana Andrade. "INSTAGRAM COMO LUGAR DE CONFLITO ENTRE A FOTOGRAFIA ARTE E TODAS AS DEMAIS MANIFESTAÇÕES FOTOGRÁFICAS QUE PERMEIAM ESTA REDE SOCIAL." Projeto História : Revista do Programa de Estudos Pós-Graduados de História 71 (September 1, 2021): 98–127. http://dx.doi.org/10.23925/2176-2767.2021v71p98-127.

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O artigo a seguir analisa a imagem fotográfica e suas interrelações com o universo da arte a partir de perfis dentro do território compartilhado do Instagram. O texto debate algumas inquietações no campo da imagem fotográfica produzida hoje e perpassa por questões clássicas da ontologia da imagem técnica. A análise recai sobre a rede social e observa a incorporação de diversos estilos de fotografia. No intuito de refletir sobre os deslocamentos de espaços de trabalhos artísticos para a rede social, analisamos os perfis de Vera Holtz, Cindy Sherman, Yasmin Formiga e Amanda Pietra, para compreender esses processos.

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Cortés Vega, César. "Identidad e hiperrealidad hacia el arte en entornos sociotécnicos." Index, revista de arte contemporáneo, no. 15 (April 29, 2023): 32–47. http://dx.doi.org/10.26807/cav.v8i15.526.

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Basándome en el trabajo de Cindy Sherman, así como de la artista brasileña Laís Pontes, en el presente escrito abordo la elaboración de identidades en el trabajo artístico en espacios y redes sociotécnicos, desde el punto de vista del análisis visual de los referentes prefotograficos, así como de aspectos de la teoría narrativa vinculados a la construcción de entidades ficcionales. Mediante la exploración del concepto de hiperrealidad, expongo una postura frente a este tipo de creaciones que potencian desdoblamientos críticos, tanto en el entorno físico directo, como en el electrónico, y que invitan a la participación pública poniendo en duda estereotipos identitarios.

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Szempruch, Matylda. "Twórczość feministyczna a kobieca podmiotowość: ujęcie monstrualne." Przegląd Humanistyczny, no. 64/4 (April 20, 2021): 73–83. http://dx.doi.org/10.31338/2657-599x.ph.2020-4.5.

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The article shows the relationship between philosophical thought and feminist art in terms of searching for subjectivity in women’s creations. This is a review of the theories proposed by Luce Irigaray, Hélène Cixous, Julia Kristeva, and by Judith Butler, Donna Haraway, and Rosi Braidotti, which, as this article proves, manifest themselves in the art that defines itself as feminist. Monstrosity is an important prospect here. The author presents écriture féminine and women’s literature, namely Charlotte Roche’s Wet Places and Izabela Filipiak’s Total Amnesia. Moreover, visual arts by Cindy Sherman, Chili Kumari Burman, Jo Spece, as well as a performance by Carolee Schneemann and ORLAN are discussed.

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Bigman, Alexander. "Acts of Feeling." Representations 164, no. 1 (2023): 137–68. http://dx.doi.org/10.1525/rep.2023.164.6.137.

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In this essay I address the emotive charge of James Welling’s photographic abstractions from the early 1980s, described by the artist as “images about the act of feeling.” Welling’s endeavor to stage this “act,” I argue, places his work within a wider effort by peers like Sherrie Levine, Cindy Sherman, and David Salle to reassess what it meant for art to be “expressive.” At a moment when modernist models of this concept had lost their credibility and “expressionism” as a genre had come to appear politically toxic, such an inquiry took on new urgency, raising questions that remain central to ongoing debates about the relationship between art, affect, and the social.

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