scholarly journals … Zostały tylko fotosy. Nieistniejące filmy Cindy Sherman

2021 ◽  
pp. 239-248
Author(s):  
Marcin Giżycki
Keyword(s):  
Cindy Sherman

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.

Vídeo experimental e autorretrato

2021 ◽  
Author(s):  
Filomena Antunes Sobral ◽  
Daniela Morgado Oliveira
Keyword(s):  
Crucial Role ◽  
Point Of View ◽  
The Self ◽  
Self Awareness ◽  
Cindy Sherman ◽  
Artistic Creation ◽  
Multiple Variable ◽  
The Relationship ◽  
Theoretical Foundations ◽  
Creative Production

In the development of the relationship between the artist and his artistic creation, the deconstruction of concepts and ideas within the scope of artistic praxis leads to the reflection of the crucial role that the artist has in the conception and meaning of the work. His creative production, in turn, appropriates not only the expressive force of the author to assert itself as an artistic creation, but can also assume to be the reflection of the self, its identity and materializes in the form of self-portrait. The self-portrait expands the artist’s interiority, externalizing concerns and questions, and conveys a subjective point of view about himself and his view of art. But how does self-portrait contribute to self-awareness? And how does the artist reveal himself and communicate beyond his appearance?Based on these questions, the objective of this paper is to provide a reflection on self-portrait presenting the results of an artistic installation project that involved photographic language in the form of self-portrait and experimental video to represent feelings of disquiet. Influences such as Cindy Sherman, Lais Pontes or Francesca Woodman, whose creations approach the self-portrait in a not only original, but critical style, stand out.It is a project of academic and artistic nature supported by theoretical foundations. The results allow us to conclude that the artistic installation, which began by presenting a self-portraying self-seeking identity, frees itself from its creator to enhance multiple variable interpretations depending on the observer’s attention.

De Gênero a Dispositivo: o retrato como encenação e produção de sujeitos em Cindy Sherman e Julia Cameron

Ícone ◽  
2014 ◽  
Vol 15 (2) ◽  
Author(s):  
Fernando Gonçalves ◽  
Débora Gauziski ◽  
Grécia Falcão
Keyword(s):  
Cindy Sherman ◽  
A Performance

Este artigo discute o retrato como dispositivo de construção e de problematização das representações do sujeito na fotografia do século XIX e na arte contemporânea. A partir da noção de anacronismo em Didi-Huberman e Michel Poivert, o texto analisará o retrato como campo de forças onde se legitimam e ao mesmo tempo se refutam as lógicas de representação do sujeito na fotografia, através de referências à literatura, à história da arte e ao audiovisual. Para tanto, discutiremos a “performance de si como outro” nos autorretratos da artista americana Cindy Sherman, relacionando-os às “encenações do sujeito como tipo” nos retratos do século XIX da inglesa Julia Cameron, uma das precursoras do movimento pictorialista. Com isso, buscaremos mostrar como a questão do tipo fotográfico funcionava já desde o século XIX tanto como mecanismo de construção e de reconhecimento quanto como forma de problematizar tais mecanismos em distintas épocas e tradições da prática fotográfica.

Questions sur l'art aujourd'hui : Cindy Sherman

Esprit ◽  
2006 ◽  
Vol Juin (6) ◽  
pp. 140
Author(s):  
Véronique Goudinoux
Keyword(s):  
Cindy Sherman

Remembering Feminist Remimesis: A Riddle in Three Parts

2014 ◽  
Vol 58 (2) ◽  
pp. 14-32 ◽  
Author(s):  
Rebecca Schneider
Keyword(s):  
Performance Art ◽  
Women Artists ◽  
Cindy Sherman ◽  
Feminist Performance ◽  
Marina Abramovic ◽  
Global Art

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.

Look at Me: Self-Portrait Photography after Cindy Sherman

2000 ◽  
Vol 22 (3) ◽  
pp. 47 ◽  
Author(s):  
Jennifer Dalton ◽  
Nikki S. Lee ◽  
Anthony Goicolea ◽  
David Henry Brown
Keyword(s):  
Cindy Sherman

Cindy Sherman: History Portraits

1993 ◽  
Vol 14 (1) ◽  
pp. 53
Author(s):  
John Loughery ◽  
Arthur Danto
Keyword(s):  
Cindy Sherman
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