Abstract
This paper examines "Sex Pictures," a series by artist Cindy Sherman, through the critical analysis of Judith Butler. The paper looks at structural feminist theories and binary oppositions. The author gives examples of specific works.

From the Paper
"It can be argued that the work of Cindy Sherman is -at least in part- feminist critique. Certainly in reading the feminist theory of critics such as Judith Butler, one can easily see that Sherman's 'Sex Pictures' series argues on the same side of post-structuralist feminism that Butler champions. Furthermore, in juxtaposition to the work of a similar yet categorically male artists such as Hans Bellmer, it is easily seen that while Bellmer seems to operate on a more essential..."

Tags:cindy sherman, judith butler, hans bellmer, feminism, post-structuralism, Lacan

Abstract
This paper examines how American artist Cindy Sherman, who began to work on the famous series "Untitled Film Stills" at the end of 1977, stages mediated images of women through shot, costume, pose and situation, embodying a vast number of characters herself. It looks at how, through the medium of photography Sherman both captures realistic images and transforms herself according to her wishes. It also discusses, with reference to Sherman's work, whether photography is used as an artifice in representing the human figure and how, ultimately can photography can portray realism.

From the Paper
"The work by Cindy Sherman is, above all, based on different artistic forms; among them is film, theatre, and painting, especially portraits. When we first look at Untitled Film Stills, we are con fronted with some simulations of scenes from Hollywood. Just as with any film still, performance is at the heart of the images. Arthur Danto, indeed, attributes their success as being "simultaneously and inseparately photographs and performances." Sherman's photographs are not only photographic records of performances but, inversely, "performative accounts of filmic images." For instance, in Untitled #21 in which a young woman is seen against huge urban buildings, the city is a part of a film scenery, which is there to echo the woman's expression of urban attitude. The outside world similarly establishes for Sherman's characters a unity of place and time and an ambience which defines their individual role. However, these characters, which all come from old B movies and film noir, are pre sented more as types rather than as individuals. "

Tags:portraits, Untitled, Film, Stills

Abstract
This paper looks at the work of Cindy Sherman, a famous American photographic artist. It explains that the main focus of her work is herself. By turning the camera on herself, she symbolizes the complexity of being female through images that simultaneously shock and challenge the viewer. The writer points out that, by creating close-up images, she succeeds in creating a sensation of exaggerated nearness, yet dispels any feeling of closeness or intimacy. Her work creates a tension between familiarity and strangeness. The question of female identity is also a central concern that is explored.

From the Paper
"Sherman rarely grants interviews and seldom allows herself to be photographed out of character. Her work has been exhibited in more than 75 solo and as part of over 150 group exhibitions. Sixty-four museums collect her prints. Today, her prints sell for between $20,000 and $50,000. A print from the Untitled Film Stills series was recently auctioned by Christie's for a record $190,000 - an unprecedented figure for a living artist/photographer. In 1996, New York's Museum of Modern Art paid $US1-million for the complete Untitled Film Stills series."

Tags:close-up

Abstract
This paper discussed Sherman's work and how she uses photography to probe and clarify gender relations and stereotypes about women and society.

From the Paper
"Photography may be an old medium, but it was only really discovered and recognized as a form of art recently and accepted into the mainstream as a part of a fundamental postmodern shift in art appreciation. After being marginalized for so long, it is important to look at innovations and the relationship between the art and the potential for its impact on how we see society and how artists use photography as social commentary. Photography engages every postmodern critical or..."

Tags:male gaze, female stereotypes, confrontational art, photography

Abstract
Cindy Sherman, post-modern photographer, can be considered a bit of a rebel due to her opinion of photography as an art form. This paper examines what sets Sherman aside from other photographers of her time by examining her photographic career. It also examines the difficulty in 'categorizing' Sherman's work. The paper touches on post-modern feminist theory.

From the Paper
"Again, categorizing Cindy Sherman as a post-modernist, or as a symbol of feminism escapes most critics. As she herself would have said "I am whatever I want to be." And that includes her poses as famous actresses or models of centuries earlier. And yet, the "woman photographer" label continued to follow her."

Tags:Guggenheim, prize, self-portrait, Margaret, Bourke-Whiter

From the Paper
" This study will examine the relationship between the photography of Cindy Sherman, specifically a number of the works from her "History Portraits Series" of 1989-1990, and selected works of the Italian Baroque painters Michelangelo Merisi de Caravaggio and Artemisia Gentileschi of the late 16th and early 17th centuries. If one considers these three artists in terms of the evolution of a single vision, moving from Caravaggio through Gentileschi to Sherman, one can more easily see the relationships between and among their works. The thrust of this study will focus on such an evolution, from the traditional "masculine perception" (Garrard 4) of Caravaggio to the "special mixture of masculine and feminine elements" (Garrard 7) of Gentileschi to the radically humanist and subversive work of Sherman. Although Sherman, the focus of this study, expropriates the style and.."

Abstract
This paper looks at a selection of photographs from Sherman's "Disasters and Fairy Tales" collection of work, through Kristeva's theory of abjection.

From the Paper
"As Kristeva describes it in "Powers of Horror," abjection preserves what existed in the archaism of pre-objectal relationship in the immemorial violence with which a body becomes separated from another body in order to be (Powers). While this may seem like a complex idea, the makeup of it is actually quite simple to grasp. The pre-objectal relationship that Kristeva speaks of is the time in youth and adolescence prior to the female's realization that she is not a subject and..."

Tags:cindy sherman, julia kristeva, phtography, abject, abjection

Abstract
The paper analyzes a photograph by Cindy Sherman, based on Raphael's famous portrait "Fornarina." It argues that while the original painting depicted women as "possessed" by men and therefore "owned" by the painter, the modern-era version de-objectifies the feminine form and gives women a sense of self-identity. The paper clarifies this point by pointing out that the model of the picture is also the photographer.

From the Paper
"In the view of Kate Linker (1983), there has been of late, a shift in the way we conceive of texts. We have moved, to a degree, away from the expressionist model, "based on an expressive self and an emphatic reader, who reduplicates preconstituted meanings (1983, p. 391)." This shift further moves the reader or, in the case of the visual arts, the viewer, away from a fixed ideology which renders meaning as timeless and immutable rather than as shifting or in process. Linker (1983) suggests that in most representational visual art, there are abundant forms in which the very apparatus or content of work constitutes subjects as male, positioning women as unauthorized and illegitimate and as represented rather than representing."

Tags:Lacan, gender, Renaissance, satire, orientation

Abstract
This paper is an examination of how gender politics affect photography. The paper centers on Man Ray and Cindy Sherman. The paper looks at how Man Ray revolutionized the art of photography; his artistic notion of gender politics. Sherman's photography as framed within the feminist critique of patriarchy.

From the Paper
"Certainly one of the most often and erroneously perpetuated myths in art is the idealistic notion that photography is an expression of truth. If this were the case, we would be prompted to answer the question 'whose truth?' A simple study of the mere gender politics inherent in photography proves that if there is any truth to be found in photography, it is most certainly of a relativistic nature. Here we will study the photography of photographers..."

Tags:cindy sherman, man ray, gender, photography

Abstract
The paper explains that the curatorial premise of the hidden self is conveyed in both direct and indirect methods in relation to the self-portraits studied in this format. The paper discusses how by utilizing the indirect method of realizing the abstract self in the works of Van Gogh, Schmidt-Rottluff and Cindy Sherman, the works of Oursler and Richter convey direct confessional statements on the hidden self that the artists seek to bring out in their works. The paper concludes that in this manner, the hidden self is revealed in different manners and through the different mediums over the last two centuries.

From the Paper
"This study will examine five self-portraits by artists from different eras within the curatorial premise of both direct and indirect aspects of the "hidden self". Through this scope, the artistry of Van Gogh, Richter, Oursler, Sherman, and Schmidt-Rottluff will be examined to reveal the differing sense of hidden self that lies behind each of these works. By examining the nature of the hidden self, one can find that these artists convey problematic issues of personality in the cultures through the different art mediums of the past two centuries."

Tags:gogh, richter, sherman