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"Will the Real Cindy Sherman Please Stand Up and Will the Boys Please Sit Down?" Representations of Femininity and Masculinity in the Early Works of Cindy Sherman, Robert Longo, and Richard Prince /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Will the Real Cindy Sherman Please Stand Up and Will the Boys Please Sit Down?" Representations of Femininity and Masculinity in the Early Works of Cindy Sherman, Robert Longo, and Richard Prince // Amy J Baer.
作者:	Baer, Amy J.,
面頁冊數:	1 electronic resource (202 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-03, Section: A.
Contained By:	Dissertations Abstracts International86-03A.
標題:	Art history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31555837
ISBN:	9798384085904

"Will the Real Cindy Sherman Please Stand Up and Will the Boys Please Sit Down?" Representations of Femininity and Masculinity in the Early Works of Cindy Sherman, Robert Longo, and Richard Prince /
Baer, Amy J.,

"Will the Real Cindy Sherman Please Stand Up and Will the Boys Please Sit Down?" Representations of Femininity and Masculinity in the Early Works of Cindy Sherman, Robert Longo, and Richard Prince /Amy J Baer. - 1 electronic resource (202 pages)

Source: Dissertations Abstracts International, Volume: 86-03, Section: A.

Pictures Generation artists, so-named from Douglas Crimp's famous Pictures Exhibit in New York in 1977, brought art-making back to the image after their precursors in Minimalism and Conceptual Art moved away from it. They were borne of the first TV generation into a burgeoning consumer culture and a world oversaturated with images, against the back drop of the Vietnam War and the ongoing fight for civil rights, women's rights, and gay rights. Pictures Generation artists used appropriation as a mode to mine the previously untapped images from mass-media as their subject matter and medium. By re-framing or altering the original image and/or removing any previous context, these artists exposed the manipulation and artifice of media images. In their early works at the beginning of their artistic practice, from approximately 1975-1983, Cindy Sherman, Robert Longo, and Richard Prince created art that addressed gender identity and construction through mass-media images derived from cinema and advertising. The artworks by included in this discussion pre-date their eventual fame, when they are wrestling with these issues and developing their individual signature styles as established Pictures Generation artists. Cindy Sherman's earliest investigations, through to and including the launch of her career with the Untitled Film Stills, involve photographs of herself disguised with costumes, hair, and makeup, as different stereotypes of women. Though Sherman is photographing her own body in these works, they are not self-portraits. With the carefully constructed images of women being continually produced and played by Sherman, she reveals gender identity to be performative. Sherman's photographs show how gender identity exists outside of the self and is only a surface thing to be "put on" as she demonstrates with the endless array of personas she dons. In addition, Sherman's early work helps viewers to see that tropes of femininity they may adopt are dictated by the power systems in place through the dominant ideologies and mediated by the culture. Sherman's early work coincided with and was championed by the second wave of feminism in the 1970s, which helps catapult her to huge success, with a career-spanning oeuvre of seemingly infinite iterations of femininity. Robert Longo and Richard Prince, both in a relationship with Sherman during the early years of their art-making, are also concerned with gender identity and its construction as a subject matter of their early works. This dissertation intents to prove Longo and Prince are grappling with the same concepts as Sherman examining the performative nature of gender identity-specifically of masculinity. Robert Longo's early work, through to his fame with the Men in the Cities series, appropriates film stills into cast aluminum or steel sculptural reliefs or charcoal drawings; he removes any trace of context, and presents vacated tropes of masculinity to allow the audience to see their fabrication and manipulation. Richard Prince re-photographs appropriated images from advertising; he removes the campaign and product to leave empty, canned prototypes of masculinity like the Marlboro cowboy for viewers to realize the false lies of gender identity being sold to them as consumers. Though both Longo and Prince examine the same subject matter and concerns as Sherman at time of a crises of masculine identity against increasing women's, civil, and gay rights, their early works are not as regarded, not attributed to a study of masculinity, and are all but forgotten stepping stones before their larger careers. This dissertation also seeks to include Longo and Prince as equal contributors to the exploration of gender identity, gender construction, and masculinity, as Sherman, and the consideration of their early works as an important part of their oeuvres.

English

ISBN: 9798384085904Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Sherman, Cindy

"Will the Real Cindy Sherman Please Stand Up and Will the Boys Please Sit Down?" Representations of Femininity and Masculinity in the Early Works of Cindy Sherman, Robert Longo, and Richard Prince /
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