.jpg?w=1)
拍品专文
She is also great, and arguably the first of her kind, in a more old-fashioned sense. She may be the first woman in modern art history whose career conforms in its broad outlines to those of figures like Pablo Picasso, Jasper Johns or Bruce Nauman: an innately precocious, innovative, prolific, influential artist who has enjoyed widespread acclaim - and market success - virtually since she first appeared, in the early 1980s, and who has never rested on her laurels, but has persisted, decade after decade, with interesting, surprising work (Roberta Smith, "Photography's Angel Provocateur," New York Times, 23 February 2012).
In the present example, Sherman's film noir femme fatals of the Untitled Film Stills are replaced by dolls and plastic mannequins she acquired from a medical supplies house. As discussed in her seminal text Cindy Sherman 1975-1993 renowned art historian and Columbia Professor Rosalind Krauss states Sherman's description of this move into this daring and sometimes disturbing territory as a kind of resistance to the more palatable consumption of her earlier work and her desire to move away from that process.
In 1992, Cindy Sherman removed herself (almost) completely from the picture plane. In his essay "House of Wax," art historian, scholar and then-Harvard Profesor Norman Bryson writes: "In the Sex Pictures series, Sherman manages to play with exactly this gap between the body as the ecstasy-of-discourse and that body's inadequate stand-ins on the representational stageBut in a sense theobject need not even aim to be adequate, since it is only a decoy, not the real thing, only a herald of the real" (N. Bryson, "House of Wax," R. Krauss, Cindy Sherman 1975-1993, p. 220).
In the present example, Sherman's film noir femme fatals of the Untitled Film Stills are replaced by dolls and plastic mannequins she acquired from a medical supplies house. As discussed in her seminal text Cindy Sherman 1975-1993 renowned art historian and Columbia Professor Rosalind Krauss states Sherman's description of this move into this daring and sometimes disturbing territory as a kind of resistance to the more palatable consumption of her earlier work and her desire to move away from that process.
In 1992, Cindy Sherman removed herself (almost) completely from the picture plane. In his essay "House of Wax," art historian, scholar and then-Harvard Profesor Norman Bryson writes: "In the Sex Pictures series, Sherman manages to play with exactly this gap between the body as the ecstasy-of-discourse and that body's inadequate stand-ins on the representational stageBut in a sense theobject need not even aim to be adequate, since it is only a decoy, not the real thing, only a herald of the real" (N. Bryson, "House of Wax," R. Krauss, Cindy Sherman 1975-1993, p. 220).