And that’s something of which Reisch seems acutely aware. Whether pixel or negative, abstract or figurative – past, present or post – photography is still far more about the magical effects of shadow and light than the processes by which it’s made. Terms such as ‘abstract sublime’ have also been used when talking about Reisch’s work, and this seems a far more meaningful description than ‘postphotographic’. However, if the viewer moves from left to right, the effect, on the mirrored image, shifts from light to dark – resulting in both the viewer’s reflection and that of the mountain appearing to fade in and out of focus, as if obliterated by a blizzard whiteout. (Untitled) 8/013 the viewer can see both a mirrored version of herself and the ghostly mirrored image of the peak that’s behind her. (Untitled) 8/013 (2010), a landscape- oriented black rectangle with a gradated, fuzzy- edged white circle at its centre. 8/013 (right), 2010, digital print, abstractionism < in cindy sherman’s marilyn monroe postmodernism&source=bl&ots=c9Kffw36bs&sig=sOeK1PNj61eD-anGn8bTaYQw7ZE&hl=en&sa=X&ei=63WlUfaOJKaOiAf1yoHIBw&redir_esc=y United Kingdom, Europe: Routledge, 2002. “The” Politics of Postmodernism New Accents. Bloomington, Indiana: Indiana University Press, 1996. It captures glamor of the subject (Marilyn Monroe) and also the emotion of the object, the artist. ![]() I think this work is postmodern in every essence of it. It is a contest between the unitary and autonomous subject.(Hutcheon 153) There is a juxtaposition between the way she is the reality form with the piece but she is portraying fictional aspects in the pieces. This work is highly post modern as it challenges to the fiction behind photography. Women used to do that – tissues and socks!”.Įven though Cindy Sherman’s main overall idea in her work is noted to be her personal appearance in the work, but the paradox of her photographs is a confrontation of the absence of the female in the patriarchal society and an attempt to reconstruct the act of viewing in a male marked world. refracted through Sherman’s masquerade, Mariyln’s masquerade fails to mask her interior anxiety and unhappiness seems to seep through the cracks.”(Mulvey 75)Ĭindy Sherman has a good take of her reflection on this piece: “It’s all make-up.” Is the cleavage real? “No, that’s make-up and maybe some socks I put in my bra. Within this the one thing that lacks back is well said by Laura Mulvey, “. The glamor of the period is well maintained in the piece, with Cindy Sherman holding her hands held to thrown back head, with her eyes half closed and lips slightly open. Although cindy Sherman has not chosen to dress equivalent to her she did maintain Marilyn Monroe’s attitude in her own slacks and shirt. The cover is easily recognizable with Marilyn Monroe as the posture, hair style and attitude in the posture maintained is iconographic of Marilyn Monroe. the notion behind this cover was Cindy Sherman wanting to portray herself as MArilyn Monroe. In 1982 Cindy Sherman appears on the cover of an Anglo AMerican Magazine, ZG. ![]() There is so much fantasy of freedom within the pieces of Post modern art that it leaves the viewer gasping at the artwork. It is no more just capturing something different within one frame but it has become capturing the emotion, the unseen and creating a new form of fine art within a frame. Postmodernism is the return of the repressed. Marilyn Monroe, ZG Magazine Cover, Cindy Sherman, Portrait Photography. This latter theme was especially prevalent in her Fetish series, which were installations, sculptures and photographs of would-be ancient ceremonies and rituals focused on the female body.Īrnason, H. Her work satirized the male fetishization of the female form and paid homage to ancient fertility rituals, that she believed worshipped the female form as opposed to objectifying it. One of the forerunners of the feminist art movement, Ana Mendieta was a Cuban-born artist working in America, with the particular focus of reclaiming the female form as just that - belonging to the female, and using it as a tool to express a woman’s definition of femininity, as opposed to a male view. For thousands of years, the female form had been the base of many notable male artists’ work, but women as artists had wielded little power over the art world at large, and were more often than not ostracized from the boy’s club of the fine art world through the centuries. Women, in this particular case female artists, were rebelling against the patriarchal norms in society, and specifically here, the male-dominated art world. Ana Mendieta, Untitled from Fetish series, photograph, 1977, feminist artįeminist art was a movement that went hand in hand with the women’s liberation movement in the 1960s and 1970s in the United States.
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