scholarly journals Identités fictives de Cindy Sherman et de Sophie Calle

Cahiers ERTA ◽  
2021 ◽  
pp. 162-194
Author(s):  
Katarzyna Kotowska
Keyword(s):  
Cindy Sherman ◽  
Contemporary Artists

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.

Mutable Views

2019 ◽  
pp. 52-70
Author(s):  
Johanne Sloan
Keyword(s):  
Visual Culture ◽  
Collective Memory ◽  
Visual Arts ◽  
Visual Art ◽  
Natural World ◽  
Landscape Art ◽  
Experimental Films ◽  
Contemporary Artists

This chapter addresses the contemporary renewal of landscape art in Canada, arising at the intersection of visual art and cinema. Artworks, installations, and experimental films are discussed according to four categories: figure/ground, spatial illusions, the historicity of landscape, and digital scenery. Landscape—as a distinct art historical genre, conventional cinematic background, and ideological ground—has historically played a key role in Canadian visual culture. The contemporary artists and filmmakers in question have remade landscape in pictorial terms by remixing legacies from the visual arts and cinema and also in political terms, by calling attention to the damaged natural world of the Anthropocene, confronting Indigenous claims to the land, and foregrounding struggles over nationhood, identity, and collective memory.

scholarly journals Michael O’Brien’s Theological Aesthetics

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 451
Author(s):  
Rebekah Lamb
Keyword(s):  
Primary Source ◽  
Theory And Practice ◽  
Theological Aesthetics ◽  
Art Practice ◽  
Devotional Art ◽  
The Arts ◽  
New Directions ◽  
Extensive Collection ◽  
The Relationship ◽  
Contemporary Artists

This essay introduces and examines aspects of the theological aesthetics of contemporary Canadian artist, Michael D. O’Brien (1948–). It also considers how his philosophy of the arts informs understandings of the Catholic imagination. In so doing, it focuses on his view that prayer is the primary source of imaginative expression, allowing the artist to operate from a position of humble receptivity to the transcendent. O’Brien studies is a nascent field, owing much of its development in recent years to the pioneering work of Clemens Cavallin. Apart from Cavallin, few scholars have focused on O’Brien’s extensive collection of paintings (principally because the first catalogue of his art was only published in 2019). Instead, they have worked on his prodigious output of novels and essays. In prioritising O’Brien’s paintings, this study will assess the relationship between his theological reflections on the Catholic imagination and art practice. By focusing on the interface between theory and practice in O’Brien’s art, this article shows that conversations about the philosophy of the Catholic imagination benefit from attending to the inner standing points of contemporary artists who see in the arts a place where faith and praxis meet. In certain instances, I will include images of O’Brien’s devotional art to further illustrate his contemplative, Christ-centred approach to aesthetics. Overall, this study offers new directions in O’Brien studies and scholarship on the philosophy of the Catholic imagination.

Reflections

2021 ◽  
Vol 33 (4) ◽  
pp. 557-576
Author(s):  
Laura Engel
Keyword(s):  
Eighteenth Century ◽  
Black Women ◽  
Subject Matter ◽  
History Of ◽  
Visual History ◽  
Contemporary Artists

Contemporary artists Elizabeth Colomba and Fabiola Jean-Louis employ eighteenth-century subject matter, iconography, and media to reimagine the visual history of Black women. Putting Colomba’s and Jean-Louis’s work in dialogue with my own, I return to the premises of my book Women, Performance, and the Material of Memory: The Archival Tourist (2019), to re-examine, interrogate, and acknowledge my position as a white scholar.

ՀԱՖԵԶԻ ԲԱՆԱՍՏԵՂԾԱԿԱՆ ԱՇԽԱՐՀԻ ԱՐՏԱՑՈԼՈՒՄՆ ԱՅԴԻՆ ԱՂԴԱՇԼՈՒԻ ՆԿԱՐՆԵՐՈՒՄ

2021 ◽  
pp. 216-225
Author(s):  
Zahra Мaleqi (IRI, Shiraz)
Keyword(s):  
Visual Arts ◽  
Persian Poetry ◽  
Contemporary Artists

Classical Persian poetry, when embodied in the oeuvre of the contemporary artists of Iran, was becoming for some a major source of artistic inspiration. The article analyzes the inner creative bond between classical Persian poets and present-day artists, exemplified by Hafez and the modern Iranian painter Aydin Aghdashloo, whose all canvases stem from poetry, and the best of them are considered among the most valued achievements of visual arts. Hafez’s verses were conducive to introducing surrealist style to Iranian portrait and miniature by the painter Aydin Aghdashloo, who has created thereby a new style of "crumpled miniature".

Lost and found in translation: Intermittent Aphasia

2020 ◽  
Vol 6 (1) ◽  
pp. 73-86 ◽  
Author(s):  
Xiaolong Fang
Keyword(s):  
Cultural Identities ◽  
Research Practice ◽  
Art Practice ◽  
The West ◽  
New Meanings ◽  
Lost And Found ◽  
Xu Bing ◽  
Lost In Translation ◽  
Artistic Research ◽  
Contemporary Artists

This article explores gaps in communication and mistranslations between languages and cultural identities. My article centres on my artistic research practice, alongside Chinese contemporary artists, Xu Bing and Ai Weiwei, who brought their own culture to bear on the experience of living and making work in the West. When facing the clash of cultural and linguistic environments, the work featured seeks to find a balance between inclusive and exclusive language systems. What seems to be ‘lost’ in translation can be used creatively in art practice, through hybridized forms and often through humour, to ‘find’ new meanings for myself, and hopefully for the audiences of my work.

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.

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