Cindy Sherman - Retrospective (Art Photo Ebook)

i
3Q
1 The inscription on the
1995), xix. 9 Ibid., 218.
preparatory drawing for the
image reads: "The author
dreaming. His only intent is to
uncover prejudicial vulgarities
and to perpetuate with this
capricious work the solid testimony
of truth," in Alfonso E.
Perez-Sanchez, Goya:
Caprichos, Desastres,
Tauromaquia, Disparates
(Madrid: Fundacion Juan
March, 1977), 56.
Body in Pieces: The Fragment as
a Metaphor of Modernity (New
York: Thames and Hudson,
1994) that representations of
the human body as fragmented,
mutilated, and fetishistic
bespeak an essentially modernist
worldview of loss, crisis,
and disintegration; she touches
on the work of Sherman,
Louise Bourgeois, and Robert
Mapplethorpe as emblematic
2 Thomas DaCosta
of postmodernist treatment of
the fragment, implicating it "as
Kaufmann, "The Allegories and the site of a triumphant reintroduction
their Meaning," in Pontus
of the abject in the
Hulten et. al., The Arcimboldo form of infantile desire and
Effect: Transformations of the gender-bending metamorphosis"
Fact from the 16th to the 20th
(54).
Century (New York: Abbeville
Publishers, 1987). 89-108.
7 Simon Taylor, "The Phobic
elaborates on the meanings of
Arcimboldo's allegorical symbolic
as indicative of a
Renaissance idea of systems of
Object: Abjection in
Contemporary Art," in Abject
Art: Repulsion and Desire in
American Art, exhibition catalogue
(New York: Whitney
accord between the parts of the
universe—the macrocosm of Museum of American Art,
the larger world, the microcosm
1993), 62.
of man, and the body
politic—and with specific readings
8 Mary Russo, "Female
as imperial allegories. Grotesques: Carnival and
Theory," in Teresa de Lauretis,
3 Marina Warner, From the
ed., Feminist Studies/Critical
Beast to the Blonde: On Fairy Studies (Indiana University
Tales and their Tellers (New
Press, 1986), 214.
York: Farrar Straus Ciroux,
4 In a series of photographs
used as illustrations for
Fitcher's Bird, based on a fairy
tale by the Brothers Grimm
(New York: Rizzoli, 1992),
Sherman maintains the focus
of her imagery throughout the
story on the nightmarish, the
grotesque, and the portentously
symbolic, despite the book's
"happily ever after" ending.
5 Gen Doy, "Cindy Sherman:
Theory and Practice," in John
Roberts, ed., Art Has No
History! The Making and
Unmaking of Modern Art
(London and New York: Verso.
10 Office Killer, 1997, marks
Sherman's first directorial
effort and relates closely to the
concerns of her photographic
work, as discussed in Phoebe
Hoban, "Sherman's March,"
Vogue 187, no. 2 (February
1997): 240-43, 278.
11 Ambrose Bierce, Chost and
Horror Stories of Ambrose Bierce
(New York: Dover Publications,
Inc., 1964).
12 Julia Kristeva, Powers of
Horror: An Essay on Abjection
(New York: Columbia
University Press, 1982), 208.
1994), 267.