Hande will be our guide for this very interesting article on Cindy Sherman’s work. One of my very favorite quotes about Greece is that it is like a mirror, for first one suffers and then one learns. This article reminded me of that bit of wisdom.
1. Though Cindy Sherman titles and exhibits her works as a series of independently numbered photographs, the author imposes a cohesive narrative upon this corpus of images. Is this just another cheeky art historian at work or do you agree with his interpretation of her “story?”
2. Why does her work constitute an anti-mirror and what does it reflect?
3. Do you feel that the author over-interprets Untitled Film Still #25?
4. What role has satire played in the work of Cindy Sherman?
5. What is the element in Sherman’s work that surpasses a mere parody of female stereotypical roles, etc.?
6. “You can still sense the quotation marks around them as Sherman essays to foreground contemporary types of femininity.” Discuss this observation.
7. In exposing the anti-self’s passivity in these images, Sherman realizes her own agency as an artist for she has unlocked the door to her unconscious. This is what Keats called “negative capability.” Do you agree that this is what occurs in Sherman’s portrayal of powerless women?
8. In the darkest photographs that Sherman produces, with women truly on the edge, looking like recent patients in a psychiatric ward, the artist becomes the nightmare. How does Johnson characterize these works?
9. What in the final analysis is the role of art?