Cindy Sherman - Retrospective (Art Photo Ebook)

Phenomenology of Feminine
Body Comportment, Motility,
8 I discuss Wilde, aestheticism,
and dandyism in my
13 Judith Butler theorizes the
performativity of the subject in
and Spatiality," and Judith
essay '"Clothes Make the
terms of "a reiteration of a
Butler, "Sexual Ideology and
Man': The Male Artist as a
norm or set of norms" through
Phenomenological Description:
Performative Function," Oxford
which "sex is both produced
A Feminist Critique of Merleau-
Art Journal 18, no. 2 (1995),
and destabilized" in
Bodies that
Ponty's Phenomenology of
21-22.
Matter: On the Discursive Limits
Perception," and The Thinking
Muse: Feminism and Modern
9 In his contemporaneous
of 'Sex'
(New York and London:
Routledge, 1993), 10, 13.
French Philosophy, ed. Jeffner
study Men in
Women's Guise,
Allen and Iris Marion Young
(Bloomington: Indiana
O. P. Gilbert discusses
Barbette as resembling "an
14 Arlene Raven, "Feminist
Content in Current Female
51
University Press, 1989), 51-70
American girl,"
and notes the
Art," Sister 6, no. 5
and 85-100.
popularity of such male to
(October/November 1975): 10.
female cross-gendering in
the-
Judy Chicago discusses the
4 John Berger, Ways of Seeing
atrical settings during the
importance of such performa-
(London: British
Broadcasting
teens and 1920s. See O. P.
tive self-explorations in the
Corporation and
Gilbert, Men in
Women's Cuise,
pedagogy of the Feminist Art
Harmondsworth: Penguin
trans. Robert B.
Douglas
Program in
her autobiography
Books, 1972), 47. Berger's
(London: John the Bodley
Through the Flower: My Struggle
rather simple but crucial early
Head Ltd.. 1926), 270.
as a Woman Artist
(Garden City,
formulation is expanded by
NY: Doubleday&Co., 1975).
Mulvey in
her well-known
10 Liithi, a Swiss artist, per-
see 87, 125-132. The centrality
"Visual Pleasure and Narrative
formed himself in
numerous
of exaggerated self-perfor-
Cinema."
guises ranging from the hyper-
mance to early feminist prac-
feminine to absurdly masculine
tice is well known. In New York
5 Mulvey, "Visual Pleasure
(with masks, shaved head,
in the early 1970s, Pat Oleszko
and Narrative Cinema," 15.
and/or making faces) in pho-
also enacted herself in
elabo-
tographs from the 1970s up to
rate, often hyper-feminine cos-
6 Mary Ann Doane, "Film
the 1990s; often these were
tumes (in
one case, she per-
and the Masquerade:
done in
elaborate architectural
formed as a stripper covered
Theorizing the Female
scenarios and with female col-
with stuffed male hands); see
Spectator," in Femmes Fatales:
Feminism, Film Theory,
laborators playing equally
strange roles. See Urs Liithi—
Maud Lavin, "Dressing Up (&
Down): Pat Oleszko's
Psychoanalysis (New York and
Tableaux 1970-1984 (exhibition
Transformations," Art Express
London: Routledge, 1991), 25.
organized by le
Fonds Regional
2, no. 2 (March-April 1982):
Doane's essay, like
Mulvey's,
d'Art Contemporam des Pays
28-33.
was originally published in
de la
Loire, 1984), and Rainer
Screen, one of the major sites
Michael Mason, Urs Luthi:
15 Doane discusses masquer-
for the development of femi-
Toeuvre multiplied 1970-1991
ade, again, as precisely a
nist psychoanalytic theories of
(Geneve: Musee d'art et d'his-
strategic breaking apart of the
the gaze.
toire, Cabinet des Estampes,
union between "woman" and
1991).
"image" — "Female specificity
7 "Man is a machine,"
is . . . theorized
in terms of
according to Julien Offray de la
Mettne in his fascinating
11 I discuss this tra|ectory of
self-performance in my book
spatial proximity" such that the
female spectator of the image
Enlightenment treatise
Body Art/ Performing the
of a woman can only become it;
L'Homme Machine (Man a
Subject (Minneapolis:
the masquerade, as noted, "in
Machine) 1748 Leyden Edition
[first
edition], trans. Gertrude
University of Minnesota Press,
forthcoming).
flaunting femininity, holds it at
a distance"; Doane, "Film and
C. Bussey, M.W. Calkins (La
the Masquerade," 22, 23, 25.
Salle, IL: The Open Court
12 Merleau-Ponty,
Publishing Co., 1961). The lat-
Phenomenology ofPercey
16 Judith Butler, C(
ter quotation is from Paul
trans. Colin Smith (New York
Trof
and thr
Virilio, The Vision Machine,
trans. Julie Rose (Indianapolis
and London: Routledge, 1962),
165.
Subversion ofldnHity (N
York and London Routledge,
and Bloomington
Indiana
1990)
University Press, 1994)