Identity in Cindy Sherman´s Contemporary Art

What remains the significance of color in art? Could it be the disposition and feelings it provokes to the viewer, the distinguishing factor in the meaning of a piece? Maybe color is used in the association of simply shadow work, used only in technical terms to create value and the curvature of a three dimensional illusion? Or maybe the use of color in artwork appears as simple as how one learned the use in childhood, gender identification: blue means male and pink means female. True, artists select

No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which

in which the use of appropriation and re-contextualisation was developed to test previous conventional depictions of gender in the visual arts. Artists Yasumasa Morimura, Julie Rrap, Anne Zahalka and Cindy Sherman have each employed the use of appropriation to question the historical ideologies of gender, particularly in relation to women, and their role in art and society. They all borrowed past paintings and promoted them with new context to portray and explore different meanings towards gender

Surrealism is one of the recognizable art movements with influential impacts in contemporary art. Advocating an art of imagination, the artists explore the unconscious as a method to discover the possible vision. They focus on the power of endless imagination and trace back to the romantic emotions, explore anxieties and present the emotions visually. Besides, the Surrealistic artists believe everywhere, and daily life could be their inspiration. In the arts, the Surrealist ideas combine abstract

Postmodern American artist’s Cindy Sherman and Kara Walker critique and question grand narratives of gender, race and class through their work and art practice. Cindy Sherman, born 1954, is well renowned for her conceptual portraits of female characters and personas that question the representation of women, gender identity and the true (or untrue) nature of photography (Hattenstone 2011). Kara Walker, born 1969, is known for her black silhouettes that dance across gallery walls and most recently

woman wearing 70’s style clothing, stood in a sort of dominated nature , washing the lights of a car while wearing quite a resentful face. Accompanied by the caption “ Her father’s name for her was ‘useless’ ” we are able to see a woman in a period of great feminine oppression, forced to wash a car for a man who considers her to be useless. This kind of irony shows the insignificance thought to be surrounding women during this time. 2. What comments does sherman make about contemporary culture? I believe

Gender Identity and the Act of "Becoming" in Cindy Sherman's History Portraits Introduction There is some disparity between the way critics and philosophers like Judith Butler view Cindy Sherman's work and the way that Cindy Sherman speaks of her photographs. It may be the disparity that exists between many modern artists, who often operate on an intuitive level, and the philosopher critics who comment upon them from a theoretical perspective or a pre-established framework. On one level, Cindy Sherman

The body has been cut, burned, exploited, sexualized, glorified, abused and stretched out to its limits, as a form of curiosity in art. The body has been a central theme throughout art history and in the contemporary world today. It is recognized as a symbol of identity, social politics, culture and belonging. Art cannot be made without the presence of the body and its interaction with the material world. Artists have continually tried to redefine the meaning behind the encounters of the body

to reflect upon how we perceive women. The characters Sherman portrays, lighting, clothing and expressions are cliché of what is present in cinema, so much that viewers of her work have told Sherman that they ‘remember the movie’ that the image is derived from, yet Sherman having no film in mind at all.[iv] Thus showing that her word has a pastiche of past cinematic genres, and how women are portrayed in cinema and photography and how Sherman has manipulated the ‘male gaze’ around her images so they

artist who through his art, represents social changes in Japanese culture, such as Western influences, politics and gender values. Morimura explores how Japan interacts with the World through the lens of the artist and how the artist creates an identity within his culture and the global community. Morimura was born in Osaka, Japan, in 1951. He was educated at Kyoto City University of the Arts where he graduated in 1978. Yasumasa Morimura has achieved fame as a contemporary international artist largely