Bibliography

Primary Texts

Cindy Sherman, A Play of Selves (New York: Metro Pictures, 2007)

Cindy Sherman, “The Making of Untitled,” in The Complete Untitled Film Stills (New York: The Museum of Modern Art, 2003)

Sherrie Levine, “Five Comments,” in Blasted allegories : an anthology of writings by contemporary artists, (Cambridge, Mass.: MIT Press, 1987)

Sherrie Levine, “Pathos: Trois Contes,” in October, Vol. 101. (Summer, 2002)

Martha Buskirk; Sherrie Levine; Louise Lawler; Fred Wilson, “Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson,” in October, Vol. 70, The Duchamp Effect. (Autumn, 1994)

Artist Monographs

Diane Arbus, Diane Arbus (Millerton, NY: Aperture, 1972)

Nancy Spector, Glenn O’Brien, Jack Bankowsky and Richard Prince, Richard Prince (Guggenheim Museum, 2007)

Sherrie Levine, Sherrie Levine: Abstraction (Chicago, IL: The Arts Club of Chicago, 2006).

Secondary Sources

Tom Anderson, “Aesthetics as Critical Inquiry,” Art Education, Vol. 51, No. 5, Critical Lenses (Sept., 1998), 49-55.

Mielke Bal, Reading Rembrandt: Beyond the Word-Image Opposition (Cambridge: Cambridge University Press, 1991)

Mielke Bal and Norman Bryson, “Semiotics and Art History,” Art Bulletin, Vol. 73, No. 2 (1991), 174-208.

Roland Barthes, “Rhetoric of the Image” in Image, Music, Text, trans. Stephen Heath (New York, N.Y.: Hill and Wang, 1977), 21-40.

Roland Barthes, “Myth Today” in Mythologies, selected and trans. Annette Lavers (New York, N.Y.: Noonday Press, 1989), 109-59.

Roland Barthes, Camera Lucida: Reflections on Photography (Hill and Wang, 1982).

Jean Baudrillard, “Simulacra and Simulations,” trans. Paul Foss, Paul Patton and Philip Beitchman, in Jean Baudrillard: Selected Writings, ed. and intro. Mark Poster (Stanford: Stanford University Press, 2001), 169-87.

Elisabeth Bronfen, “The Other Self of the Imagination: Cindy Sherman’s Histerical Performance,” in Cindy Sherman: Photographic Work 1975-1995 (Munich: Schirmer/Mosel, 1995)

Norma Broude and Mary D. Garrard (eds), Feminism and Art History: Questioning the Litany (New York: Harper & Row,1982)

Norma Broude, Mary D. Garrard, and Judith K. Brodsky (eds), The Power of Feminist Art: The American Movement of the 1970s, History and Impact (New York: H.N. Abrams, 1994)

Norma Broude and Mary D. Garrard (eds), Reclaiming Female Agency : Feminist Art History After Postmodernism, (Berkeley : University of California Press, 2005)

Norman Bryson, “House of Wax,” in Cindy Sherman 1975-1993 (New York: Rizzoli International, 1993)

Jonathan Burton, “A Body Slate: Cindy Sherman,” in Cindy Sherman (Cambridge, Massachusetts: The MIT Press, 2006)

Stanley Cavell, chapter two, “Sights and Sounds,” in The World Viewed: Reflections on the Ontology of Film, enlarged edition (Cambridge, Mass.: Harvard University Press, 1979), 16-23.

T. J. Clark, “On The Social History of Art,” in Image of the People (London: Thames and Hudson, 1973), 9-20.
David Craven, “Marxism and Critical Art History,” in Paul Smith, Carolyn Wilde (eds), A Companion to Art History (Oxford: Blackwell, 2002), 267-285.

Douglas Crimp, “The Photographic Activity of Postmodernism,” October 15 (Winter 1980)

Douglas Crimp, “Pictures” in Art after Modernism: Rethinking Representation, ed. and intro. Brian Wallis; foreword Marcia Tucker, Documentary Sources in Contemporary Art, series ed. Marcia Tucker (New York: New Museum of Contemporary Art and Boston: David R. Godine, 1984), 175-87.

Jean-Pierre Criqui, “The Lady Vanishes,” in Cindy Sherman (Paris: Flammarion, 2006)

Amada Cruz, “Movies, Monstrosities, and Masks: Twenty Years of Cindy Sherman,” in Cindy Sherman: Retrospective (New York: Thames & Hudson Inc, 1997)

Jonathan Culler, “Meaning and Iterability” in On Deconstruction: Theory and Criticism after Structuralism (Ithaca, N.Y.: Cornell University Press, 1983), 110-34.

I. Michael Danoff, “Cindy Sherman: Guises and Revelations,” in Cindy Sherman (New York: Pantheon Books, 1984)

John Docker, “Are We Living in a Postmodern Age,” “From Structuralism to Poststructuralism,” and “Cultural Studies: Transitional Moments From Modernism to Postmodernism,” in Postmodernism and Popular Culture: A Cultural History (Cambridge ; New York : Cambridge University Press, 1994), 103-114, 129-145, 146-167.

Zdenek Felix, “The Latent Horror of Cindy Sherman’s Images,” in Cindy Sherman: Photographic Work 1975-1995 (Munich: Schirmer/Mosel, 1995)

Nancy Foote, “The Anti-Photographers” in Douglas Fogle, The Last Picture Show: Artists Using Photography, 1960-1982 (exh. cat., Walker Art Center, Minneapolis, 2003), 24-31.

Hal Foster, “Obscene, Abject, Traumatic,” in October 78 (Fall 1996).

Michael Fried, “Art and Objecthood” in Gregory Battcock, ed., Minimal Art: A Critical Anthology, into. Anne Wagner (Berkeley: University of California Press, 1995), 116-47.

Michael Fried, Why Photography Matters Now As Never Before (New Haven, CT: Yale University Press, 2008)

Judith Goldman, “Diane Arbus: The Gap Between Intention and Effect,” Art Journal, Vol. 34, No. 1 (Fall 1974), 30-35.

Andy Grundberg, “The Crisis of the Real: Photography and Postmodernism” in Liz Wells, ed., The Photography Reader, (London and New York: Routledge, 2003), 164-79.

Andy Grundberg, Crisis of the Real (New York: Aperture Books, 2005).

Tom Gunning, “New Thresholds of Vision: Instanteous Photography and the Early Cinema of Lumiere,” in Terry Smith, ed., Impossible Presence: Surface and Screen in the Photogenic Era (Chicago: University of Chicago Press, 2001), 71-99.

Jonathan Harris, The New Art History: A Critical Introduction (London: Routledge, 2001).
David Hopkins, “The Politics of Equivocation: Sherrie Levine, Duchamp’s ‘Compensation Portrait’, and Surrealism in the USA 1942-45,” Oxford Art Journal, Vol. 23, No. 1 (2003), 45-68.

Catherine Ingraham, “Sherrie Levine / Joost van Oss: Sculpture” in exhibition catalog Sherrie Levine / Joost van Oss (New York, NY: Paula Cooper Gallery, 1999).

Chrissie Iles, “Between the Still and Moving Image” in Chrissie Iles, Into the Light: The Projected Image in American Art, 1964-1977 (exh. cat., Whitney Museum of American Art, New York, 2001), 32-69

Amelia Jones, “Tracing the Subject with Cindy Sherman,” in Cindy Sherman: Retrospective (New York: Thames & Hudson Inc, 1997)

Rosalind Krauss, “The Photographic Activity of Surrealism” in her The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1986), 87-118.

Rosalind Krauss, “Photography’s Discursive Spaces,” The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, Mass.: MIT Press, 1984), 131-50.

Rosalind Krauss, “Cindy Sherman: Untitled,” in Cindy Sherman 1975-1993 (New York: Rizzoli International, 1993)

Rosalind Krauss, “Notes on the Index: Parts 1 & 2” in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1986), 196-220.

Rosalind Krauss, “Photography’s Discursive Spaces,” The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, Mass.: MIT Press, 1984), 131-50.

Rosalind Krauss, Bachelors (Cambridge, MA: MIT Press, 1999)

Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Visual and Other Pleasure, (Basingstoke: Macmillan, 1989), 303-314.

Laura Mulvey, “A Phantasmagoria of the Female Body,” in Cindy Sherman (Paris: Flammarion, 2006)

Diane Neumaier, Reframing: New American  Feminist Photographies, (Philadelphia: Temple University Press, 1995)

Molly Nesbit, “Without Walls” in Douglas Fogle, The Last Picture Show: Artists Using Photography, 1960-1982 (exh. cat., Walker Art Center, Minneapolis, 2003), 249-58.

Linda Nochlin, “Why Have There Been No Great Women Artists?”, in Thomas B. Hess and Elizabeth C. Barker (eds), Art and Sexual Politics (New York: Macmillan, 1973), 1-39.

Craig Owens, “The Allegorical Impulse: Toward a Theory of Postmodernism, Part 2” in October 13 (Summer 1980).

Craig Owens, “Sherrie Levine at A&M Artworks,” in Craig Owens, Scott Bryson (ed), Beyond Recognition: Representation, Power and Culture (Los Angeles: University of California Press, 1992), 114-116.

Rozsika Parker and Griselda Pollock, Framing Feminism: Art and the Women’s Movement, 1970-85 (London: Pandora, 1987)

Rozsika Parker and Griselda Pollock, Old Mistresses: Women, Art and Ideology (London: Routledge & Kegan Paul, 1981)

Griselda Pollock, “Woman as Sign: Psychoanalytic Readings,” in Vision and Difference: Femininity, Feminism and the History of Art (London: Routledge, 1988), 166-211

John Pultz, “Searching for Diane Arbus’s ‘Family Album’ in Her Box of Ten Photographs, Monograph, and Esquire Work” in Anthony W. Lee and John Pultz, Diane Arbus: Family Albums (exh. cat., Mount Holyoke College Museum of Art, Amherst, Mass., and Spencer Museum of Art, University of Kansas, Lawrence, Kan., 2003), 1-20.

Martha Rosler, “In, Around, and Afterthoughts (On Documentary Photography)” in Liz Wells, ed., The Photography Reader (London: Routledge, 2003), 261-74.

Peter Schjeldahl, “The Oracle of Images,” in Cindy Sherman (New York: Pantheon Books, 1984)

Martin Schwander, “The Outer Inner World,” in Cindy Sherman: Photographic Work 1975-1995 (Munich: Schirmer/Mosel, 1995)

Jeanne Siegel, “After Sherrie Levine (1988),” interview with Sherrie Levine in Art Theory and Criticism: An Anthology of Formalist, Avant-garde, Contextualist, and Post-Modernist Thought, (Jefferson NC: McFarland, 1991)

Kaja Silverman, “How to Face the Gaze,”in The Threshold of the Visible World (New York: Routledge, 1996)

Howard Singerman, “Seeing Sherrie Levine,” in October, Vol. 67. (Winter, 1994)

Howard Singerman, “Sherrie Levine’s Art History,” in October, Vol. 101. (Summer, 2002)

Susan Sontag, On Photography (New York: Delta, 1977).

Elizabeth A. T. Smith, “The Sleep of Reason Produces Monsters,” in in Cindy Sherman: Retrospective (New York: Thames & Hudson Inc, 1997)

Abigail Solomon-Godeau, “Suitable for Framing: The Critical Recasting of Cindy Sherman,” in Parkett no. 29 (1991)

Abigail Solomon-Godeau, Photography at the Dock : Essays on Photographic History, Institutions, and Practices, (Minneapolis: University of Minnesota Press, 1991)

Abigail Solomon-Godeau, “Winning the Game When the Rules Have Been Changed: Art Photography and Postmodernism” in Liz Wells, ed., The Photography Reader (London and New York: Routledge, 2003), 152-163.

Freida High W. Tesfagiorgis, “The Discourse of Others : Feminists and Postmodernism,” in Norma Broude and Mary D. Garrard, eds., The Expanding Discourse: Feminism and Art History (New York, NY: IconEditions, 1992)

Linda Weintraub;  Arthur Coleman Danto;  Thomas McEvilley, “Art On the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970s-1990s, (Litchfield CT: Art Insights, Inc., 1996)

Judith Williamson, “A Piece of the Action: Images of ‘Woman’ in the Photography of Cindy Sherman” in Consuming Passions: The Dynamics of Popular Culture (London: Marion Boyars, 1986)