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Office Killer, the only film by Cindy Sherman, one of the twentieth century's most significant artists, has failed to be critically examined. Dahlia Schweitzer explores the film on a variety of levels, arguing that it is only through a close reading of the film that we can begin to appreciate the messages underlying all of Sherman's work.

Becoming war auch der Titel einer MTV-Reality-Show, die Breitz gewissermaßen als Ausgangspunkt nahm. Die siebenteilige Doppel-Channel-Arbeit zeigt durch Blick von vorne ebenfalls Stereotypen: Cameron Diaz, Julia Roberts, Jennifer Lopez, Meg Ryan, Neve Campbell, Reese Witherspoon und Drew Barrymore sprechen durcheinander, ohne dass man sie hören kann. Demo: I know, Retina: Your World is. so .ABstract OOOOOOOOOOOOOO Can I take Notes, and be apart of it Oooooooooooooo.

This essay discusses numerous links between the work of the American photographer Cindy Sherman and cinema, manifested through her famous cycle Untitled Film Stills (1977-1980), but also in her own films: a short animation made during her college years (Doll Clothes, 1975) and a horror (Office Killer, 1997). The author considers to what extent photographs from the cycle are inspired by specific films and what is the relationship between the artist’s own films and her Untitled Film Stills. He also recalls Edward Hopper, another well-known artist whose paintings resemble movie stills. Finally, the author reminds us of feature films made in the 1990s by other artists from Sherman’s generation: David Salle, Robert Longo, and Julian Schnabel.

The roughly chronological structure of the exhibition guides the viewer from Sherman's early black-and-white works to her colour series of the early 1980s that show Sherman in unidentifiable settings; with the artist's gaze directed at something or someone beyond the frame, there is an unnerving sense of possible threat. The photographs, and the exhibition as a whole, provide ample evidence of the power of art to make the viewer think about issues pertaining to gender and class, and to make the viewer feel a range of emotions (anxiety, excitement, resentment, and disgust, to name only a few) while moving through the gallery space. Sherman currently has 314,000 followers, and in addition to posting strange, warped self-portraits that have been digitally altered, she uses her platform to bring attention to artists, such as Polish artist Zofia Kulik (b. 1947), and galleries, such as the Museum of Anthropology at the University of British Columbia, which she likely visited while she was in Vancouver for her retrospective.

Przedmiotem eseju są liczne związki twórczości amerykańskiej fotografki Cindy Sherman z kinem, których przejawem jest nie tylko jej słynny cykl Fotosów bez tytułu (1977-1980), ale też krótki film animowany Ubranka dla lalek (1975), zrobiony jeszcze podczas studiów, oraz horror Morderczyni z 1997 r. Autor zastanawia się, na ile poszczególne fotografie z tego cyklu są inspirowane konkretnymi filmami i jaki jest związek własnych filmów artystki z jej zdjęciami. Przywołuje też twórczość innego znanego artysty, Edwarda Hoppera, w którego obrazach również można dostrzec zatrzymane kadry filmowe. Wreszcie omawia filmy z lat 90. ubiegłego wieku zrealizowane przez innych artystów z pokolenia Sherman: Davida Salle’a, Roberta Longo i Juliana Schnabla.

Conceptual artist Michele Provost is a long-time devotee of appropriation, using borrowed imagery and citations from the global art world to expose its hierarchical underpinnings. Her series Selling Out in 2008 exposes the cult of personality within the art market, by presenting collector cards of famous artists, from Rembrandt to Cindy Sherman, or toy action figures based on their work, such as Jeff Koon's stainless steel Rabbit. With her most recent installation, Everything must go/ Liquidation totale, Provost takes things a step further, problematizing the art world's bureaucratic response to appropriation art. The work consists of a liquidation sale of home decor items created by the artist that cite the legacy of one of Canada's most iconic artists: Jean-Paul Riopelle.

This article investigates the relationship of the tableau vivant to modernism and postmodernism and examines how the aesthetic characteristics mobilized by the tableau vivant disrupt the logic of modernism. In the nineteenth century, the tableau vivant, because of its intrinsic intermediality, was seen as overly theatrical and was thus relegated to the antechamber of photographic modernity, as a practice that discredited the seriousness of a medium in need of legitimization. By 1964, however, Robert Morris used the tableau vivant as an instrument to critique modernism in his work Site. Postmodernist artists explored the tableau vivant still further and used it repeatedly in photography, video, and performance. This article examines how Luigi Ontani, Cindy Sherman, and Yasumasa Morimura adopt the tableau vivant as an interface that allows them to physically manipulate representations of Western society in order to critique its values and codes.

In 2013, The Better Image (TBI) was contacted to examine A Play of Selves, a unique work created by artist Cindy Sherman during her graduate studies in 1975. The work is composed of 244 paper doll-like photographs of Sherman that are presented within 72 frames. During initial condition checks, it was noted that a number of individual elements had begun to show signs of chemical staining. Over the course of 2013/2014, a collaborative response was developed with the help of the artist, the artist's printer, the representing gallery, TBI staff and the owner. The main goal was to address the physical and chemical issues present and preserve this work for future exhibition and study. Determining an effective decision- making model based on a hierarchy of values was crucial before undertaking any conservation treatment, as there were several invested parties, each with a different perspective. The focus of this paper is the interplay of our responsibilities as conservators with the concerns of the artist, her gallery, her printer, and the owner to balance aesthetic vs. physical integrity of the artwork, reversibility of treatments, importance of record keeping while developing a balanced response within a world of rapidly disappearing traditional photographic papers.

Critics around the world have taken Cindy Sherman's photographs and extensively examined what lies underneath. However, little critical ink has been spilled on Sherman's only film, Office Killer. The author offers a trenchant analysis of Office Killer and explores the film on a variety of levels.