女性凝视的震撼
摘要
由于马奈在奥塞博物馆中最重要的两幅作品《奥林比亚》与《草地上的午餐》皆是以莫涵为模特儿的画作，使得莫涵一直是十九世纪艺术史学者所关注的焦点。而舍曼的作品则在近三十年来被认为是艺术史中，在艺术理论分析里富含多重意义且最具影响力的作品之一。
本论文透过并置且对比马奈的莫涵绘画与舍曼的《无题电影剧照》，试图探讨大众文化下的女性图像。论文的第一部分依时间的先后顺序讨论马奈以莫涵为模特儿的绘画作品，除了审视马奈在作画期间所经历的各个阶段外，也借由画作内容来了解莫涵在每个阶段可能的写实生活状况。此外，依据文献举出每幅画中写实、象征或寓意层面的含意。
借由呈现舍曼在水牛城“廊墙”阶段的早期作品与创作背景，第二部分探讨舍曼在作品中的不表演态度与她对高雅艺术与低俗文化所抱持的矛盾情感。而经由描绘舍曼在曼哈顿下城区的住家兼工作室的公寓里独自创作的过程，将女性主义理论的分析角度，从作品的表面价值更生活化的转移到女性与男性在公领域与私密领域间的互动与相处关系。
论文的第三部分则举出马奈作品的后现代寓意与舍曼作品中的作者身份，尝试提出艺术创作在评论家藉以用作为理论阐述依据的同时，作品的其它特质被忽略的可能性，试图打破现代作品与后现代作品壁垒分明的现象。最后分析作品中的女性凝视，探讨马奈与舍曼作品中相似的手法运用，与其借由女性的凝视来排斥观众的过程。
Whereas Edouard Manet chose to paint Victorine Meurent in two of his masterpieces in the Louvre: Olympia and Le Dejeuner sur l'Herbe , she is of interest to scholars. For almost thirty years, Cindy Sherman's Untitled Film Stills have been the favored subject of the most sophisticated and influential theoretical readings of art history.
While juxtaposing and comparing Manet's painted Meurent and Sherman's Untitled Film Stills, this dissertation observe the female images produced under mass cultures. Through chronological reading of the painted Meurent, the first part of the thesis reviews Manet's real life as well as Meurent's conceivable life. Depending on pertinent literature, each painting is examined for its realistic, symbolic and allegoric meanings.
Presenting Sherman's Hallwall development, in the second part of this thesis, Sherman's non-performance practice is discussed along with her ambivalence about both high art and low culture. Demonstrating her lower Manhattan experience working in her home, the face value feminist reading of her work turns to woman's situation with quotidian matters in both private and public arena.
In the third part of this thesis, Manet's postmodern allegories and Sherman's modern authorship are proposed in an attempt to obscure the line that divides modern and postmodern works. The final discussion approaches both Manet and Sherman's similar policies which repel their audience via female gazes portrayed in their female images.
本论文透过并置且对比马奈的莫涵绘画与舍曼的《无题电影剧照》，试图探讨大众文化下的女性图像。论文的第一部分依时间的先后顺序讨论马奈以莫涵为模特儿的绘画作品，除了审视马奈在作画期间所经历的各个阶段外，也借由画作内容来了解莫涵在每个阶段可能的写实生活状况。此外，依据文献举出每幅画中写实、象征或寓意层面的含意。
借由呈现舍曼在水牛城“廊墙”阶段的早期作品与创作背景，第二部分探讨舍曼在作品中的不表演态度与她对高雅艺术与低俗文化所抱持的矛盾情感。而经由描绘舍曼在曼哈顿下城区的住家兼工作室的公寓里独自创作的过程，将女性主义理论的分析角度，从作品的表面价值更生活化的转移到女性与男性在公领域与私密领域间的互动与相处关系。
论文的第三部分则举出马奈作品的后现代寓意与舍曼作品中的作者身份，尝试提出艺术创作在评论家藉以用作为理论阐述依据的同时，作品的其它特质被忽略的可能性，试图打破现代作品与后现代作品壁垒分明的现象。最后分析作品中的女性凝视，探讨马奈与舍曼作品中相似的手法运用，与其借由女性的凝视来排斥观众的过程。
Whereas Edouard Manet chose to paint Victorine Meurent in two of his masterpieces in the Louvre: Olympia and Le Dejeuner sur l'Herbe , she is of interest to scholars. For almost thirty years, Cindy Sherman's Untitled Film Stills have been the favored subject of the most sophisticated and influential theoretical readings of art history.
While juxtaposing and comparing Manet's painted Meurent and Sherman's Untitled Film Stills, this dissertation observe the female images produced under mass cultures. Through chronological reading of the painted Meurent, the first part of the thesis reviews Manet's real life as well as Meurent's conceivable life. Depending on pertinent literature, each painting is examined for its realistic, symbolic and allegoric meanings.
Presenting Sherman's Hallwall development, in the second part of this thesis, Sherman's non-performance practice is discussed along with her ambivalence about both high art and low culture. Demonstrating her lower Manhattan experience working in her home, the face value feminist reading of her work turns to woman's situation with quotidian matters in both private and public arena.
In the third part of this thesis, Manet's postmodern allegories and Sherman's modern authorship are proposed in an attempt to obscure the line that divides modern and postmodern works. The final discussion approaches both Manet and Sherman's similar policies which repel their audience via female gazes portrayed in their female images.
引文
1 Pierre Courthion, Edouard Manet(New York: Abrams, 1984) p. 10.
2 如技师、铜匠、珠宝师、棉织工、印布工、铺路工、陶艺匠、铁匠、羊毛匠、马车匠、大理石匠、镜子工匠、水管工、火炉工、洗衣工、木匠、钢琴制造师、油漆匠、壁纸工、眼镜工匠等等。Margaret Mary Armbrust Seibert，“A Biography Of Victorine-Louise Meurent and Her Role in the Art of Edouard Manet，”Ph．D．diss．，Ohio State University，1986，pp．44-46．
3 Ross King, The Judgement of Paris: The Revolutionary Decade that Gave the World Impressionism(New York: Walker & Company, 2006), p. 38.
4 矛贝尔广场(place Maubert)附近住着各类小家庭式商店的商人，有做猪汕糕的、卖种子的、卖香料的、拔牙的，还有专门捡巴黎街头剩余烟蒂回来卖的人；也住着许多游手好闲的人、妓女、无业游民，还有些专门在城里地下水沟捞捡东西吃的人。Seibert，Manet，pp．53-54．
5 迈特赫—阿贝尔街上的亚维庸旅馆(The Hotel de l’Averyon)，在入住的第一晚需要付60生丁(法郎的百分之一)之后每晚是30生丁。这里破旧床褥上有梅毒病菌的感染，房里有锌制洗脸盆，和当做尿盆用的水桶，没有桌子、椅子，也没有肥皂或是毛巾。墙上贴着告示请住客将钥匙留在门上。警察在天亮前随时会破门而入，抓起一个看似嫌疑且正在睡觉的人，用提灯照亮他的脸，如果有任何人反抗，则会招来一顿毒打。Seibert，Manet，p．54．
6 Adolphe Tabarant, Manet et ses oeuvres(Paris: Gallimard, 1947) in 1947 and Pierre Courthion, Manet raconte par lui-mere et par ses amis(Geneva, 1953), quoted in Seibert, Manet, p. 58.
7 莫涵就像是个可亲的妓女，而马奈像是个巴黎的花花公子。Beatrice Farwell, Manet and the Nude: A Study of Iconography in the Second Empire(Taylor & Francis, 1981),pp. 162-163.
8 "She lived in the most evil places, or she would be a free Bohemian, model for painters, libertine of the brasseries, lover for a day, she of course claimed herself to be of illustrious parentage...a product of a great city, the street errant, fatigued from the pavement, dirtied from the gutters. In her short childhood, she knew contrary fortunes, the highs and lows of existance... knowing women of the flesh at sixteen...this is one stray of civilization destined for misery and the hospital," Gustave Geffroy, La Vie Artistique I, a description of Olympia, dated Feb. 10, 1890 on the presentation of the painting to the state, pp. 19-20, quoted in Seibert, Manet, p. 58
9 Beatrice Farwell, Manet and the Nude: A Study of Iconography in the Second Empire(Taylor & Francis, 1981) pp. 28, 30.
10 Theodore Duret, Manet and the French Impressionists, trans. E. Crawford Flitch(New York: 1937)
11 "Seibert, Manet, p. 82.
12 萨梯(Satyr)为希腊神，也为好色之徒。
13 Rodalind E. Krauss,"Manet's'Nymph Surprised',"Burlington Magazine, 1967, p. 624.
14 Beatrice Farwell, Manet and the Nude: A Study of Iconography in the Second Empire(Taylor & Francis, 1981) p. 220.
15 "Rosalind E. Krauss,"Manet's'Nymph Surprised',"Burlington Magazine, 1967, p. 623. The servernt figure was found in x-ray photos.
16 Franchise Cachin, Manet 1832-1883(New York: Harry N. Abrams) 1983, p. 88.
17 Seibert, Manet, p. 86.
18 佐拉(Emile Zola)的小说《杰作》(L’oeuvre)中描述画家丈夫蓝提耶(Claude Lantier)与其妻子克里斯廷(Christine)与模特儿蓓蔻(Irma Becot)之间所存在的复杂问题：模特儿之被物化、妻子与模特儿角色的错乱、19世纪末法国社会对裸体模特儿行业的评价等等一连串的问题。
19 C. V. Wheeler dated this portrait to the year of 1861, Manet,(Washington D. C.) 1930, p. 11.
20 Francoise Cachin, Manet 1832-1883(New York: Harry N. Abrams) 1983, pp. 104-105.
21 Pierre Courthion and Pierre Cailler, eds., Portrait of Manet by Himself and His Contemporaries, trans. Michael Ross(London: Cassell, 1960), p. 10, 54.
22 Anne Coffin Hanson, Manet and Modern Tradition(New Haven and London: Yale University Press) 1980, p. 76.
23 "...If a student is ill, his faithful grisette nurses him and cures him; if he is desitute, she works for him; and if he falls into irretrivable misgortune, she dies with him," J. Sanderson, The American in Paris(Philadelphia) 1839, pp. 212-213, quoted in Seibert, Manet, p. 90.
24 Farwell，Nude，p．158．“lorette”这个字是由Nestor Roqueplan在Goncourts(The Goncourt Journals，New York，New York，1937，Dec，6，1866 and 230，n．5)里所发明的，是形容出没在诺特丹—罗惠特路(rue Notre-Dame de Lorette)的高雅的妓女。
25 小波兰区(Petite Pologne)是由一家小酒馆(guinguette)的名称而来，是流浪汉、乞丐和捡破烂的人常逗留的地方。
26 Antonin Proust,"Edouard Manet: Souvenirs," La Revue Blanche, XII, Feb.-May 1897. Also cited in Cachin, Manet, J'ai fait ce que j'ai vu, p. 42.
27 Duret, Manet and the French Impressionists, trans. E. Crawford Flitch(New York: 1937) p. 21.
28 "To be of one's own time," Nils Sandblad, Manet: Three Studies in Artistic Conception, 1954, p. 70.
29 Jacques Crepet,"The Red Haired Beggar Girl," Verve, Dec. 1939, pp. 50-51.
30 Jacques-Emile Blanche, Manet(Paris, 1924), cited in Seibert, Manet, p. 97.
31 Guy de Tervarent, Attrivutes et Symboles dans l'Art Profane 1450-1600(Geneva, 1958) p. 208.
32 Farwell, Nude, p. 163.
33 Seibert, Manet, p. 99.
34 Sarah Evans, Figures for a Melancholy Mind: Absorption and Allegory in Edouard Manet's Images of Berthe Morrisot and Victorine Meurent(Ontario: Trent University, 1998), pp. 132-133.
35 Cachin, Manet, J'ai fait ce que j'ai vu, p. 30.
36 Seibert, Manet, p. 100.
37 Elizabeth Anne McCauley, A.A.E. Disdiri and the Carte de Visite Portrait Photograph(New Haven, 1985) p.185-187.
38 Paul,"Le Fifre et Victorine MeurendV Revue de l'Art Ancien et Moderne, Vol. 51 January 1927, 35-36. cited in Seibert, Manet, p. 102.
39 Farwell, Nude, pp. 164-165.
40 Hanson, Manet and Modern Tradition, pp. 79-82.
41 Guide dans les Theatres, 1855, pp. 180-190. quoted in Seibert, Manet, p. 105.
42 Farwell, Nude, p. 99.
43 Zola, Nana, Chapter 1.
44 Farwell, Nude, pp. 64-65.
45 Cachin, Manet, J'ai fait ce que j'ai vu, p. 31.
46 Tabarant, p. 80. cited in Seibert, Manet, p. 121.
47 Paul Jamot,"The First Version of Manet's Dejeuner sur l'Herbe," Burlington Magazine, vol. 58, June 1931, 298-300, cited in Seibert, Manet, p. 123.
48 G. H. Hamilton, Manet and his Critics, p. 44.
49 Cahin，Manet 1983，p．165，在库存的手稿里这幅画记录为La Partie Carree．
50 Proust, 1897, 171.
51 Jamot, Gazette des Beaux Art, 1927, pp. 39-40.
52 Ernest Chesneau, L'Art et Artistes Modernes en France et Angleterre, Paris, 1864, cited in Farwell, Nude, p. 255.
53 "Farwell, Nude, p. 238.
54 Ibid, pp. 72, 73.
55 Seibert, Manet, p. 126.
56 普鲁斯特陈述其中女主角是马奈“最喜欢的模特儿」—莫涵。Daix，p．89．和Courthion，p．74．认为莫涵可能是取代了先前的模特儿。Mauner，p．23．认为苏珊是身体部分的模特儿。Tabarant，p．62．，认为苏珊是之前躯体部分的模特儿。Cahin，Manet 1983，pp．170．171．卡恩认为如普鲁斯特陈述，前后的两位女角色都是由莫涵担任女主角的。
57 George Mauner，“Manet，Baudelaire and the Recurrent Theme，”Perspectives in Literary Symbolism，ed Joseph Strelka，1968，p．253．不过赛伯特认为没有任何依据证名在十九世纪吉奥乔尼画中有阶级的意涵。
58 Wayne Anderson,"Manet and the Judgement of Paris," Art News, vol. 72, February 1973, p. 63-69.
59 Werner Hoffmann, The Earthly Paradise in the Nineteenth Century, trans. Brian Battershaw, New York, 1961, p. 172.
60 Farwell, Nude, pp. 135-141.
61 《普拉得勾的寓言》象征父亲的宽恕和儿子的悔改。
62 Seibert, Manet, p. 129.
63 Charles Hugo's l'Enfant Prpdogu of 1850, Louis-Eugene Lami's l'Orgie of 1857, Jean-Baptiste Rambaud's l'Enfant Prodigue and Pierre-Rodolphe-Charles Herbstoffer's Mauvaise Compagnie. Among Manet's friend, Alphonse Legros's l'Enfant Prodigue, and James Tissot's Prodigue. Seibert, Manet, p. 130-131.
64 Bertall,"Come on Mange en Paris" in Le Diable a Paris, 1846, p. 516, cited in Seibert, Manet, p. 129.
65 Delvau, Les Plaisirs de Pari."Cela est la fruit de leur travail, l'epargne realise prfes de cinq, dix, quinze ou vingt prodigues qui on jete avec gaiete, pour elles leur patrimonie par la fenetre...s'il est riche, tout est dit, il est accepte et prefere tant que ses prodigalites despasseront celles de ses rivaux," cited in Seibert, Manet, p. 131.
66 Seibert, Manet, p. 131.
67 Ibid, p. 132.
68 Albert Boime, Thomas Couture and the Eclectic Vision(New Haven and London, 1980), p. 169.
69 Seibert, Manet, p. 133.
70 Cahin, Manet 1983, p.165-166.
71 Hanson, Manet and the Modern Tradition, p. 95.
72 Mauner, Manet Peinture-Philosophe, pp. 28-29.
73 Seibert, Manet, p. 136.
74 Ibid, p. 139.
75 Anderson, Pairs, p. 69.
76 Ibid, p. 140.
77 Tabarant, 1947, p. 61.
78 Farwell, Nude, p. 107.
79 Cahin, Manet 1983, p. 169.
80 Seibert, Manet, pp. 140-141.
81 Jamot, Manet, p 37-38.
82 Seibert, Manet, p. 142.
83 Anderson, p.68.
84 Seibert, Manet, p142.
85 Jamot, p. 89.
86 Hubert Damisch, The Judgment of Paris. Trans. John Goodman(Chicago & London: University of Chicago Press, 1966), pp. 226-228.
87 Duret, p. 29.
88 T. J. Clark,"Preliminaries to a Possible Treament of'Olympis' in 1865," Art in Modern Culture: an Anthology of Critical Test, edit by Francis Frascina and Jonathan Harris(Londa: Phaidon Predd Limited, 1992), p. 105.
89 Harwell, Nude, pp. 205-206.
90 Reff,"The Meanng of Manet's Olympia," Gazette des Beaux-Arts, series 6, February 1964, p. 115-116.
91 Hamilton, Manet and his Critics, New Haven, 1954, p. 67.
92 "Amodern Parisienne, an Olympia Lying on a bed...," Duret, p. 31.
93 "... fixed the canaille allure of the fille in one of the eternal poems of the flesh," Geffroy, Artistique, p. 140.
94 Geffroy, Artistique, p. 140. Quand, lasse de songer, Olympia s'eveille, Le printemps entre au bras du doux messager noir, C'est l'esclave a la nuit amoureuse pareilie, Qui veut feter le jour, delicieux a voir, L'auguste, jeune fillle en qui la flamme veille.
95 Reff, Manet: Olympia, pp. 44-45.
96 Sand, p. 95-96.
97 Jamot, Gazette des Beaux-Arts, 1927, p. 43.
98 Mauner, Manet: Peintre-Philosophe, p. 89.
99 Alan Krell,"The Fantasy of Olympia," Connoisseur, vol. 195, August 1977, p. 297.
100 Anderson, p. 69; Hamilton, pp. 19, 75; Reff, Manet: Olympia, p. 111.
101 Shron Flescher,"More on a Name: Manet's'Olympia' and the Defiant Heroine in Mid-Nineteenth-Century France," Art Journal vol. 45, Spring 1985, p. 27.
102 Ibid, pp. 27, 30.
103 Sandblad, p. 96-97, Farwell, Nude, pp. 165-167.
104 Van Liere, E. N."Solutions and Dissolutions in 19th Century French Painting," Arts, 54, May, 1980,
105 Alexandre Dumas pere,"Filles, Lorettes et Courtesanesl," p. 385, cited in Sibert, Manet, p. 163.
106 Boime, p. 171.
107 Sibert, Manet, p. 1166.
108 Cesare Ripa, Iconologia, introduction Erna Mandowsky, Hildesheim and New York 1970. p. 70.
109 Ibid., pp. 66, 75, 150.
110 Sibert, Manet, p. 167.
111 Panofsky, Problems in Titian, Mostly Iconographic,(New York, 1969), pp. 112, 113, 116, 137.
112 Jules Claritie,"Deux Heures au Salon," l'Artiste, May 15, 1865, p.226.
113 Sibert, Manet, p. 168.
114 Ibid., p. 168.
115 T. Wright, The Romance of the shoe, London, 1922, p. 214, cited in Sibert, Manet, p. 168.
116 Donald Posner,"The Swing Women of Watteau and Fragonard," Art Bulletin, vol. LXIV, March 1892, pp. 83-87, cited in Sibert, Manet, p. 169.
117 Panofsky, Problems in Titian, p.98.
118 Zola, Nana, translation by George Holden, p. 123.
119 Farwell, Nude, p. 136.
120 Sibert, Manet, pp. 174-176.
121 Lipton, p. 49. Reff, pp. 92-93.
122 Farwell, Nude, p. 231. Reff, Olympia, p. 92-95.
123 Mauner, p. 97.
124 Claritie, Figaro, June 20, 1865, cited in Hamilton, p. 73, Hanson, p. 98.
125 Champfleury, Les Chats, pp. 22-23.
126 Clark, Ibid., pp. 96-97.
127 Nochlin, Realism, p. 60.
128 Griselda Pollock, Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History(London: Thames & Hudson, 1992), p. 33.
129 Nochlin, Ibid., p. 64.
130 鲁宾同时也指出在1864年的《耶稣墓旁的天使》中，死亡的耶稣也以静物的方式，被呈现在复杂安排的布料背景上。James H．Rubin，Manet’s Silence and the Poetics of Bouquets(London：Reaktion，1994)，pp．175-176．
131 Blanche, 1924, pp. 23, 24.
132 Jamot,"Le Fifre et Victorine Meurent," Revue de l'Art Ancien et Moderne. Vol. 51, January 1927, p. 34; Wheeler, p. 17; Jedlicka, p. 98, Jean-Paul Crespelle, Degas et son Monde, Paris, 1972, pp. 135-136; Goedorp, p. 7, cited in Sibert, Manet, p. 208.
133 Duret, 1937, pp. 52-53.
134 Hamilton, p. 115.
135 Haider, p. 117.
136 Ibid., pp. 115-116.
137 Mauner, Manet, p. 136.
138 Thore-Burger, cited in Manet, 1983, p. 256.
139 Sibert, Manet, p. 212.
141 Haider, pp. 118-119.
142 S. C. Burchell, Imperial Masquerade, New York, 1971, 37, cited in Sibert, Manet, p. 215.
143 Sibert, Manet, p. 216.
144 Ibid., p. 217.
145 Tabarant, p. 298.
146 Ibid., p. 217.
147 "truth, honesty and sincerity," Linda Nochlin, Realism, Baltimore, 1973, p. 36.
148 Daix, pp. 195, 202-202.
149 Tabarant, 1947, p. 221.
150 Sibert, Manet, pp. 221-224.
151 Ibid., p. 224.
152 Jean Sutherland Boggs, Portraits by Degas, Los Angeles, 1962, pp. 33, 106.
153 Tabarent, Manet et se oeuvres,(Paris: Gallimard, 1947), pp. 488-489.
154 Goedorp, Mar. 15-25, 7, cited in Sibert, op. cit., p. 239.
155 Manet 1983, pp. 340-342.
156 Boime, p. 475.
157 Daix, p. 253.
158 Stuckey, p. 167.
159 Moreau-Nelaton, II, pp. 11-12, cited in Sibert, op. cit., p. 240.
160 Duret, 1973, pp. 76-77.
161 Sibert, op. cit., p. 241.
162 Burty, 1872, p. 220.
163 Lipton, op. cit., p. 52, Sibert, op. cit., p. 241.
164 Ripa, Hertel edition, no. 186.
165 Sibert, op. cit., pp. 244-245.
166 Harry Rand, Manet's Contemplation at the Gare Saint-Lazare(Berkeley: University of California Press, 1987), p. 79.
167 Sarah Evans, Figures for a Melancholy Mind: Absorption and Allegory in Edouard Manet's Images of Berthe Morrisot and Victorine Meurent(Ontario: Trent University, 1998), p. 74.
168 Alison McNeil Kettering,"Ter Borch's Ladies in Satin," Art History 16.1(March 1993), pp. 96-97.
169 Tabarant, 1947, p 223.
170 Sibert, op. cit., p. 245.
171 Kathleen Adler，Manet(Oxford：Phaidon Press Limited，1986)，pp．60-62．《圣主日》画中女主角正在捡树枝放在她父母的肖像前，一旁的圣母玛莉像望着在女主角旁边的床，女主角的脚边有一只猫。
172 Ibid., pp. 246-248.
173 Cahin, Manet,1983, pp. 350, 352.
174 Duret, op. cit., p. 109.
175 James Jackson Jarves, Parisian Sights and French Principles, New York, 1852, p. 178, cited in Sibert, op. cit., pp. 247-248.
176 Cahin, op. cit., p. 350.
177 Sibert, op. cit., p. 251.
178 Linda Nochlin,"A Thoroughly Modern Masked Ball," Art in America, November, 1983, pp. 183-190.
179 Ibid., p. 190.
180 Ibid., pp.193, 195.
181 Ibid., p.189.
182 Sibert, op. cit., p. 253.
183 Ibid., p.254.
185 Eunice Lipton, Alas Olympia(Ithaca and London: Cornell University Press, 1992), p. 104-105.
187 Tabarant, 1947, p. 272.
188 Lipton, op. cit., p. 164.
189 Goedorp, p. 7.
190 Tabarant, op. cit., pp. 282-288.
191 Ibid., p. 346.
192 Lipton, op. cit., pp. 51-53.
193 Sibert, op. cit., p. 300.
194 Ibid., p. 299.
195 Ibid., p. 300.
196 "De la Bedolliere listed the careers of one hundred old lorettes: seventeen died prematurely, eighteen inscribed as prostitutes, eighteen employed by inscribed prostitutes or houses of prostitution as servants, six go-betweens or pimps, eight companions or chaperones to debutante lorettes, nine wardrobe sellers, three spies or skimmers, two renters of chairs, six housekeepers, four emigrated, three saved money and moved, two advantageous marriages to foreigners, two French marriages, one fortune teller, five insane and sent to Salpetriere, five suicides from ennui or poverty and one suicide for love," Ibid., pp. 300-301.
197 Tabarant, op. cit., p. 489.
198 Sibert, op. cit., pp. 201-202.
199 Ibid., p. 302.
200 Ibid., pp. 305-306.
201 Ibid., p. 308.
202 T. J. Clark, The Paining of Modern Li fe: Paris in the Art of Manet and his Followers, New York, 1985, p. 265.
203 Sibert, op. cit., p. 310.
204 Gerstle Mack, Toulouse-Lautrec, p. 269.
205 Lipton, op. cit., p. 154.
206 Ibid., pp. 165-166.
207 Cahin, op. cit., pp. 173-183.
208 1997年在现代美术馆展出舍曼的完整的69张《无题电影剧照》时，舍曼的安排是所有横向的照片在一面墙上，所有直向的在另一面墙上。尽管其中有些可能情节相关的照片，如17到20号、21到23号，也因此被分开摆放。Howard Halle，“Everyone Knows It’s Cindy，”Time Out New York(July 24-31 1997)，p．42．
209 "We're coming together because of the weather."Cited in Sarah Evans, Situating Cindy Sherman: Artistic Communities, Critical Agendas and Cutural Allegiances, 1975-1984(Berkely: University of California Berkeley, 2004), p. 1.
210 Ibid., p. 2.
211 Ibid., p. 4.
212 Consider the Alternatives: Twenty Years of Contemporary Art at Hallwalls(Buffalo: Hallwalls, 1996), p. 190.
213 Time Magazine's review of the 1968 festival, as cited in Krane, Wayward Muse, p. 71.
214 Evans, op. cit., p. 9.
215 Baffalo State Record(October 7, 1975), cited in Evans, op. cit., pp. 12-15.
216 “激浪派」(Fluxus)或称“流动派」，是六十年代初在德国出现了一个影响很大的艺术团体，著 名代表人物是观念艺术家波依斯(Josef Beuys)和福斯太尔(Wolf Vostell)等人，组织了一系列包含诗歌、音乐、艺术于一体的表演，向现代艺术自律性观念提出挑战和质疑。
217 “廊墙」档案里的传单。Cited in Sarah Evans，op．cit．，p．15．
218 Rick Little,"Apple's Art Sampled," Bufflalo State Record(November 14, 1975), p. 9, cited in Evans, op. cit., p.15.
219 Ibid., p. 16.
220 "My heroes were those artists in the generation ahead of me, ranging from Vito Acconco to Sol Le Witt, from Eva Hesse to Robert Smithson. They were not only making art but writing about it; they were artist-critics. All of a sudden I understood that you had to be smart to be an artist. So I began to read bits and pieces. Minimalism became really important to me. I was fascinated by the work of Judd and Serra. I took out a book from library on Judd and said to myself, this is art? These cubes? The stuff looked so easy to make; why was it important? You get an education thinking about things like that. Cited in Glueck,"The Very Timely Art of Robert Longo," New York Times(March 10, 1985), H24.
221 Evans, op. cit., p. 17.
222 "It was not until met Longo and Clough that I learned what was going on in the art world ip to that moment. I hadn't learned anything about this in school and never knew about it from growing up on long island." Sherman in Jeanne Siegel,"Cindy Sherman." Art Talk: The Early 80s(New York: Da Capo, 1988, p. 270.
223 Evans, op. cit., p. 17.
224 “Formalized education is falling apart...It isn’t receptive to new ideas．and it tends to be tremendously eclectic．Tenure is the enemy of vitality in any sphere，art or what ever...I would do this by way of magazines and going to artist’studios，I guess try to establish some kind of relationships with the artists I admired，whether it’s a mentor kind of thing，or friendship or what ever．The fact that was emplying these people whose work I was reading about in Art Forum，that was a root to what seemed to me to be the front lines of culture．”Clough， cited in Consider the Alternatives，p．18．“水牛城学院」(State University College of Buffalo)为了和“水牛城分校」(State University of New York at Buffalo)区别，当时的定位是培养学生有就业才能，艺术系以艺术教育学位为主。
225 Cathcart cited in Consider the Alternatives, p. 33.
226 "Whenever someone asks me where I studied art, I always say it was at Hallwalls." Sherman, speech give on October 25 1999, Hallwall's receipt of a New York State Governor's Arts Award, cited in Evans, op. cit., p. 19.
227 Fox, Robert Longo, pp. 171-172.
228 “萝丝．瑟拉薇」(Rrose Selavy)是达达的主要艺术家杜象与曼瑞合作拍摄的系列，用意于颠覆传统的男性气概。
229 "The Making of Untitied," The Complete Untitled Film Stills(New York: Whitney, 2003), p. 11.
230 Larry Lundy, Consider the Alternatives, p. 33.
231 达达艺术其创作领域涉及绘画、拼贴艺术、装簧艺术、观念艺术、物体艺术，乃至利用“现成物」的综合媒材绘画。杜象活跃于达达主义时期，并将达达主义带入美国而形成新达达主义。新达达主义继承达达的创意精神，主要的艺术家有琼斯(Jasper Johns)、罗森伯格(Robert Rauschenberg)等人。
232 Lundy, op.cit., p. 33.
233 Ibid., p. 25.
234 Cited in Anthony Bannon,"1974-1978: The Early Yers," Consider the Alternatives, pp. 23-24.
235 “酷」最初来自于黑人文化，黑人将他们反叛的心态以一种嘲讽的态度来平复他们的愤怒。“酷」成为一种无权者的一种复仇，是一种白种奴隶主人所无法拥有和了解的态度。Lewis MacAdams，The Birth of the Cool：Beat，Bebop and the American Avant-garde(New York：Free Press，2001)，p．20．
236 Evans, op. cit., p. 28.
237 Evans, op. cit., p. 29.
238 George Melly, Revolt Into Style(London: Allen Lane, 1970), p. 18.
239 Anthony Bannon,"Shart Puts Himself Into Art, Literally," BuffaloEvening News(March 17 1975), cited in Evans, op. cit., p. 34.
240 Conrad, Consider the Alternatives, p. 188-189.
241 Evans, op. cit., p. 32.
242 Avalanche 6(Fall 1972)
243 Avalanche 4(Spring 1972)
244 一家餐厅的广告，内容如下：“4，081磅的鸡投降了…1，480磅羊迷途了，4，529磅牛被欺负了…3082个免费晚餐…百分之84的工作人员是艺术家。Avalanche 4(Spring 1972)
245 Evans, op. cit., p. 40.
246 这张海报在1977年立夫(Christopher Reeve)所主演的《超人》(Superman)电影之前，所以来源应该是50年代里福斯(George Reeves)由漫画改编的超人系列电视剧集。
247 Nicholas Roukes, Humor in Art: A Celebration of Visual Wit(Worcester: Davis, 1997), p. 4.
248 Ibid., p. 4.
249 Benjamin Buchloh,"Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions," October 55(Winter 1990), pp. 105-143.
250 Lucy Lippard,"Escape Attempts," Six Years: The Dematerialization of the Art Object(Berkeley: University of California Press, 1997), pp. vii-xxii.
251 Anne Wagner,"Performance, Video and the Rhetoric of Presence," October 91(Winter 2000), pp. 59-80.
252 Paul Wood, Conceptual Art(London: Tate Gallery, 2000), p. 37.
253 Evans, op. cit. p. 52.
254 沃霍尔所采用的姿态是来自于一种对世界的现状真诚的关怀。…他的态度因为太酷而不可能为真，所有骨子里是嬉皮的人都能察觉出来，他其实是在对我们恶作剧，他的所有一切都是在恶作剧。…但令人惊讶的是，这一切的竟是来自于都出自于心底的道德意识。Alan Solomon，Andy Warhol(Boston：ICA，1966)．
255 Warhol's Sleep, Stan Brakhage's Dog Star Man, in the writing of Marshall McLuhan and Terry Southern, in the compositions of John Cage and in the interview styles of The Beatles and Bob Dylan. Jacob Brackman,"The Put-On." The New Yorker(June 24, 1967), p. 34.
256 Ibid., pp. 34-35.
257 Ibid., p. 35.
258 Ibid., pp. 35, 36, 49, 63.
259 Conrad, Consider the Alternatives, pp. 188-189.
260 “她(舍曼)会戴着假发和假睫毛装扮成露西尔·波尔(Lucille Ball)(扮演露西的演员)，然后散漫的走进屋里，这时满屋子的朋友都在看《星期六夜晚现场》。」(Saturday Night Live)。JO Ann Lewis，“How She Learned She Ought to Be in Pictures，”Washington Post(April 2 1995)，G4．
261 在水牛城的，舍曼在各种晚上聚会场合，以装扮为露西尔·波尔而出名。Peter Schjeldahl，“She is a Camera，”p．17．她有时打扮成露西尔·波尔，有时打扮成孕妇，但她从未特别的配合她的装扮去表演，她的表现就和平时的辛迪一样，只是在玩装扮游戏。Calvin Tomkins，“Her Secret Identites，”p．77
262 Schjeldahl, op. cit., p. 17.
263 Marzorati, p. 84.
264 Evans, op. cit., p. 63.
265 Roselee Goldberg,"Post-TV Art." Portfolio(July-August 1982), pp. 76-79.
266 舍曼的是家中五个兄弟姊妹们中年纪最小的，他们其中之一在舍曼青少年时期自杀了，舍曼总是自己一个人玩耍。舍曼说道：“我是那种喜欢一边看电视一边做其它事的人，像是画画，我可以把一件东西画得极其相似。J Schjeldahl，“She is a Camera，”p．17．隆格可能由于他有失读症，所以对于视觉更敏锐，他可能没法读出钟的指针或是绑一个结，但是他可以把一个斯巴达斗士或是橄榄球员画得维妙维肖。Lynn Hischberg，cited in Consider the Alternatives．p．231．
267 Evans, op. cit., pp. 63-64.
268 Thomas Lawson,"Switching Channels," Flash Art(March-April 1981), p. 21.
269 Martha Wilson cited in Alexandra Anderson-Spivvy,"Who Is that Girl, Anyway?" Esquire(February 1994), p. 90.
270 Paul Taylor,"Face to Face with Cindy Sherman," p. 83.
271 Siegel, op. cit., p. 271.
272 Tomkins,"Her Secret Identities," p. 76.
273 舍曼回忆到：“我小时候以为艺术家就是法院插画家或是人行道上的讽刺漫画家。」cited in Kimmelman，“Portraitist in the Halls of Her Artistic Ancestors，”New York Times(May 19 1995)，C7．
274 Thom Thompson,"A Conversation with Cindy Sherman," Cindy Sherman(Stony Brook: Fine Arts Center Art Gallery/SUNY, 1983).
275 Betsy Sussler,"An Interview with Cindy Sherman." Bomb(Spring/Summer 1985), p. 32.
276 Hryvniak in Consider the Alternatives, p. 32.
277 Sherman is cited in Tomkins,"Her Secret Identities,", p. 77.
278 “辛帝·舍曼像是一个引起轰动的女演员，也因此而得到赞赏。…她的各种不同装扮的大头照，就像是有千张面孔的女人。」Nancy Tobin willing，“5 Young Women Use Different Modes，”Buffalo Courier-Express(August 15 1975)．
279 芭拉(Theda Bara)在1910年代中期演出许多无声电影，是当时受欢迎的女演员，也是电影文化的性象征。她其中一部片的角色为一吸血鬼(vampire)，简称为“凡普」(vamp)，后来“凡普」就成为具有侵略性女性或荡妇的代名词。
280 Sherman cited in Thompson, op. cit.
281 Evans, op. cit., p. 74.
282 Ibid., p. 74.
283 Marzorati, pp. 84-85.
284 Sherman cited in Marzorati，p．84-85．舍曼提到化妆的过程就如画画般，如果和安廷(Eleanor Antin)在1971年的作品相比较，就很容易理解。安廷的《具像的绘画》(Representational Painting)是一个黑白的录像作品，拍摄了35分钟安廷从她的脸开始涂上保湿乳液、粉底、然后涂上口红、腮红、眼影等化妆过程，作品所表现的是对女性花了许多时间劳力在一种无谓的脸部绘画上，与舍曼藉由化妆来转变成另一个角色是完全不相同的。
285 Sherman cited in 5,000 Artists, p. 84.
286 The sixteen characters are male Narrator, the Male Lover, the Male Ideal, the Male Friend, the Female Friend, the Female Ideal, the Male Seducer/Seducee, the Female Seducer/Seducee, the Frivolous Young Woman, the Broken Woman, the Actual Main Character, the Main Character as Others See Her, Vanity, Madness, Agony and Desire. Nancy Tobin Willig,"Type Styles and Photographic Manipulation," Art News(October 1976), p. 108.
287 Evans, op. cit., pp. 87-88.
288 当时报纸的评论是，舍曼和以往一样，运用她的巧智，她在墙上布置了她的短剧，主角是一些人偶照片，照片依剧情的顺序挂在墙上，读者沿着这些一英尺高的作品来了解剧情发展。在几个月之前，她才在“廊墙」展出过一个相同形式但更复杂的作品《自己的一出戏》，那个作品需要有文字来描述它的剧情和角色。这个新的短剧，更向前迈了一步，这是个关于爱情、背叛、死亡和充满讽刺的肥皂剧，过份夸张的情感表达就像十九世纪的舞台剧。共有13个角色在这出戏里，从疑似是谋杀式自杀的性感金发女演员、她的两个小孩、女佣及男管家到侦探警员的解迷。整个作品都是艺术家个人单刀完成的，她设计了制作、服装、化妆，且所有的照片都是她用20呎长的快门线自己拍摄的。」Nancy Tobin Willig，“Hallwalls Goes to New York．”Baffalo Courier-Express(November 21 1976)．
289 舍曼回忆到《谋杀之谜(谁做的?)》的剧情：“在一开始，所有的角色都出现在一场葬礼，然后才回溯到从前，这剧情很老套，是30年代的女演员爱上导演的故事。她是个过气的演员，想要重整旗鼓找回舞台，她是有点年纪的妇女，努力想要得到年轻女孩的角色。之后她上了媒体，也进了监牢，可能是由于导演妻子的关系。在她死后，侦探试图去找出事情的发生经过，我不太记得最后的结局了。…整个作品，从入口一进门开始，过程就像在看漫画书或意大利短篇小说一样，整个故事围绕着房间的墙，没有任何文字说明。」Sherman cited in 5，000 Artists，p．84．
290 "I had grown tired of doing these cutesy doll things and cutting them out. It was so mcuh work and too much like playing with dolls." Sherman cited in Siegel, p. 271.
291 "I was tired of cutting out. It was so labor intensive and the idea of paper dolls seemed trite and very girlish." Sherman cited in 5,000 Artists, p. 85.
292 "Murder Mystery(Whodunit?) is a mini-movie, hung up on the walll...I figured out each scene in terms of the characters and how big they would be. If one character was walking away, I'd have a notation for the scale. Then I would figure out the scenes each character was in. On a simplistic level, it was what you would do if you were making a real movie. I figured out the actress' scenes, shot all of them, then referred to a sheet, which tell me that this is the scene where she's doing this, take the picture. That would be on one roll of film, and I would print it up according to the same notation. So, in scene 11A she has to be this size, following my storyboard and putting it all together." Ibid., p 84.
293 沃芙(Naomi Wolf)对于芭比娃娃也有相同的描述：“当我们帮芭比娃娃穿好衣服以后，似乎没有什么可以继续了…芭比的生活里，假设各种场合是为了要能装扮她的理由，她的故事没有什么发展性，这意味着，我们平时兴奋的打扮自己，然后在回到没装扮的模样，而我们的故事也如同芭比一样，没有任何发展。」Naomi Wolf，Promiscuties(New York：Random House，1997)，pp．15-16．
294 "I have[sic] been working with photography for about two years, at which point I decided to use the camera as a means for exploring my experiences as a woman. My first attempts were with making up my face in order to become different characters which involved a total transformation of my personality. This grew into an involvement with transforming my whole body so that I could totally act out a given character. The process of cutting out the figures not only helped in forcing them to interact with each other but actually came from a fascination with paper dolls. After a period of time when I was experimenting with several(about 40-70) dolls of one character I began combining di f ferent character dolls to form vignettes of stopped action. Subsequently, this brought me to my present state of making chyaracter with a multiplicity of purpose—action stopped and interaction. I would say that my main preoccupation is with this process of dressing up using the costumes and make-up and wigs to play out the roles which have long since amused and fascinated me. I see my work as a form of entertainment." Sherman's statement on file in the archive of the Burchfield-Penney Art Center at Buffalo State cited in Evans, p. 181.
295 "I think ray work is informed by feminism, and there's definitely an anger that comes out, but it couldbe anger that just comes out of me, not out of the woman in me. It's not like I'm out to save the world." Sherman cited in Phoebe Hoban,"Cindy Sherman: Moving Pictures," New York(April 6 1998), p. 178.
296 第一个将《无题电影剧照》归类为后现代主义艺术的是欧文斯(Craig Owens)的论文。“The Allegorical Impoulse：Toward a Theory of Postmodernism，”October(Spring and Summer，1980)．
297 《无题电影剧照》在1980年之前在美国展览记录(American exhibition record)里展出记载:1977 December 3-January 6: WHERENWHEN, Hallwalls, Buffalo 1978 July 7-August 20: Floating Museum, Global Space Invasion(Part I), Museum of Modern Art, San Francsico 1978 September 15-October 7: Bufallo Chicago Exchango, N.A.M.E. Gallery, Chicago 1978 September 23-October 28: Four Artists, Artists Space, New York 1979 March 2-29: solo show concurrent with Kevin Noble, Hallwalls, Buffalo 1979 date unknown: Vieus Amsterdam: New York Hansen Gallery, New York 1979 date and group-show title unknown: Roanoke University Gallery, Roanoke, Virginia 1979 November 5-15: Hallwalls: Five Years, Upton Gallery, State University College at Buffalo 1979 December 11-January 19 1980: Re: Figuration, Max Protetch Gallery, New York 1980 Hallwalls: Five Years: February 16-March 8, A Space, Toronto; June 19 July 18, New Museum, New York 1980 February 2-March 23: Cindy Sherman: Photographs, Contemporary Arts Museum, Houston 1980 March 18-29, Cindy Sherman, The Kitchen, New York 1980 July 7-25 & September 2-13: Likely Stories, Castellli Graphics, New Yokr 1980 July 12-August 9: Ten Photographers, Texas Gallery Houston
298 1983年在SUNY at Stony Brook的Fine Art Center、Saint Louise Art Museum及法国Dijon的 Musee d'Art et d'Institute de Saint Etienne展出，1984年由Akron Art Museum策划了一个舍曼展在Philadelphia、Pittsburgh、Des Moines及Baltimore等市展出。1982年Stedelijk Museum策划舍曼的欧洲巡回展。1984年舍曼的第一本重要专著Cindy Sherman发行
299 见5,000 Artists, p. 326.
300 Mary Haus,"Robert Longo Talks to Mary Haus," Art forum(March 2003), p. 238.
301 见"Helene Winer Interviewed by Matt Mullican, Cindy Sherman, and Valerie Smith," 5,000 Artists, p. 59.
302 "The Ups and Downs of Art Stardom: An Interview with Robert Longo," New Art Examiner(December 1984), p. 42.
303 瑞凌提到：“这次展览，辛迪的《电影剧照》得到最大的响应，这是她第一次展览它们(在纽约市)…舍曼有一本笔记本里全是8×10的照片，她选了其中八张放大成30×40。」Reiring is cited in 5，000 Artist，p．98．
304 Sherman cited in 5,000 Artist, p. 85.
305 "Janelle Reiring asked[the four artists] to participate in a show designed to address the issue of how art is presented and, as a result, how it is seen and understood....Instead of examing the packing of the art object, Sherman dealt with the packing of the sales and support staff, infusing her analysis with a blend of nostalgia and fantasy. She was present in the gallery every day, dressed up in Fifties clothes, complete with wigs and accessories, so as to look like any of those starlets who fill the offices and shops of old movies. She also makes photographic pieces in which her imaginary characters act out obscure melodramas in personal as well as the public implications of the conventional structures of presentation and representation." Thomas Lawson,"Four Artists," Real Life(March 1979), p. 2.
306 "One of the artists seems embarrassingly derivative of the early work of another," April Kingsley,"Art Goes Underground." Village Voice(October 16 1978), p. 122.
307 派伯展出的作品是露出着恐怖表情的黑人男性，旁边有一卷重复播放的独白。
308 "Sherman played her role in such a normal way that she blurred the lines between her art and her job. It wasn't quite performance," Winer, 5,000 Artists, p. 59.
309 "It was very much like one of her film stills, but not so exaggerated,[...] She was making a statement, not a formal artwork. It was very funny and very subtle," Phoebe Hoban,"Sherman's March," vogue(February 1997), p. 243.
310 "At a party,[Sherman] colored her hair purple. I tried to be real cool and pretend not to notice, but I lost it and busted out laughing. That annoyed her and she walked away. That night I learned hip people aren't shocked at anything."Fix is cited in Consider the Alternatives, p. 37.
311 "What was weird and hilarious about her then, is that she dressed up in different ways but didn't change her attitude. She was always friendly and not at all self-conscious while she'd have on, say, a 2-foot-high beehive wig. She was theartical and natural, ironic and sincere at the same time, which seemed completely original. Every generation has to reinvent'cool' for itself. Seeing Cindy at Artists Space, I felf she was it for our generation." Marzorati is cited in Schjeldahl,"She is a Camera," pp. 17-18.
312 "Once I statrted[dressing in costume] I realized that people were entertained by it and also very confused. I liked that..." Sherman cited in Els Barents,"Introduciton," Cindy Sherman(Amsterdam: Stedelijk Museum, 1982), p. 13.
313 "It was just right for what we wanted to have happen at Artists Space because Cindy had a very easy relationship with the artists who came in and would sit at the front dest and chat." Winer cited in 5,000 Artists, p. 55.
314 "I was being interviewed for a museum job... and Cindy showed up in the now-famous secretary suit. It made it difficult to be serious—I didn't even try to explain our odd receptionist." Winer is cited in"Helene Winer Interviewed by Matt Mullican, Cindy Sherman and Valerie Smith," 5,000 Artists, p.59.
315 Ibid., p. 59.
316 Cover(Spring/Summer 1980), p. 58. Flash Art,(January-February 1980), p. 94. Real Life(October, 1979), p. 14.
317 "For years[Sherman's] favorite photographic subject has benn herself...takes a good hard look to se that it is indeed the same Cindy Sherman in each of her works as she not only explores her multiple self-image but exposes a variety of female types, from classy sophisticate to brassy boozer...Each shot freezes a moment of tension of quiet desperation. We're left hanging, wondering what has happened, what is about to happen, as a woman cringes fearfully in the corner, another languishes seductively across a bed or gazes wistfully our about them, yet they have become entirely too vulnerable. Set in very particularized enviornments, they are always alone—lost in their fantasies or caught in some act and wating to pay the consequences. Sherman tells but a fraction of the story. You fill in the rest." Brenda Preisner,"Photos Focus on Artists's Worlds," Buffalo Evening News(March 13 1979), p. III-41.
318 "If you're a photographer and your subject is what they used to call'Foreign Movie,' you can hardly miss stirring up a little interest...especially, if you mimic sexy, tormented actresses with chronicaly hitched-up skirts...a[male] viewer happens to enjoy seeing these alluring women is probably open to a charge of being a sexist." Richard Huntington,"2 New Exhibits at Hallwalls," Buffalo Courier-Express(March 16 1979), p. L-3.
319 "How the viewer gets the message si the puzzle which Ms. Sherman has left, and it is difficult of resolution. It sure isn't in the photos. They're as straght as can be. No parody. No bathos. No added formal structure. Nothing athat gives us a clue that these aren't really film stills. In fact, the most interesting thing about the photographs(for the non-sexist at least) is that they put themselves out of business. Kind of a grand neutrality. The more they succeed in matching the original, the less they become art. And, reducing art to a lingering echo is on the minds of a lot of artists today. Maybe Ms. Sherman wants to disappear. Maybe she wants to get bottled up by her—and our—fantasies. She's letting us watch. This is valid and intersting. But how we see this idea—how clear it is as a point of the work—is in quesiton. One thing the conceptual artist, the idea artist—and Ms. Sherman may be one—doesn't want to do is put parts together to make a nice-looking total picture like the regular everyday artist who breaks his back to balance a red and blue. This will just mess up the idea and if the idea isn't clear and fully dressed. Moods, sex and nostalgia all get in the way. Sentimentality—and Ms. Sherman does deal in this[--] comes off no better in idea pieces than it does in flower painting—probably worse." Ibid., p. L-3.
320 Later named Untitled Film Stills 21, 35, 4, 43, 7, 15, 30 in Sun & Moon(Fall 1979). Untitled Film Stills34, 13, 15, 7, 14, 2 in Paris Review(issue 82 1981).
321 "Cindy Sherman's pictures are intricately contirved photographs of herself in various feminie guises, derived mainly from Amreican and European films of the 1960s. She foregoes any significant impulse toward autobiographical fantasy, preferring to represent herslf posed as what she describes as role models. Her pictures function as a genre related to emblems, representing not specific personalities but character types in broadly suggestive situations. The recent uhntitled photographs included hre singify without declaring, relying on visual cues to imply social and psychological content." Howard Fox,"Recent Pictures," Sun & Moon(Fall 1979), p. 129.
322 "I was thinking general stereotypes. I would never have too much of a preconceived idea of what I wanted. A lot of it was intuitive. I was just drawing from my most general ideas of what I remembered women to be like when I was growing up. These were my role models. I was really looking for the most artificial looking kined of women. Women who had cinched-in waists and pointed bras, lots of make-up, stiff hair, high heels, and things like that. To me that's what I hated about growing up. When I was an adolescent, those kinds of role models were awful to me." Sherman, in Thompson.
323 "One of Sherman's junior highschool teachers was with an endless array of carefully coordinated outfits...She inspired the paper doll and wardrobe items which Sherman made as a means of coordinating her own ensembles." Hoben,"Sherman's March", p. 243.
324 Sherman, in Cindy Sherman: Nobody's Here But Me.
325 "Film stills were a way to deal with ray own frustration about growing up in the 50s... and then going to college when nobody was supposed to wear makeup or bras or do something unnatural to their hair or bodies. I was kind of liberating, but at the same time, I kind of loved makeup and all those artificial things I emulated as a child." Sherman is cited in Lewis Beale,"Portraits of An Artist," Sew York Daily News(June 29 1997).
326 发尾向外卷翘的直径如易拉罐般。
327 "Even though I've never actively thought of my work as feminist or as a political statement, certainly everything in it was drawn from my observations as a woman in this culture. And a part of that is a love-hate thing—being infatuated with make-up and glamour and detesting it at the same time. It comes from trying to look like a proper young lady or look sexy and beautiful as you can,ake yourself, and also feeling like a prisoner of the structure... That's certainly something that I don't think men would relate to." Sherman is cited in Fuku, p. 80.
328 拉图雷射转印纸是在计算机普及之前，设计师可将许多已经绘制好的图案或数字直接转印剑纸张上。
329 舍曼拍这系列《乘巴士的人》作品是为了参加Winston Network每年度所举办的展览《相片—巴士》(Photo-Bus)，Early Work of Cindy Sherman(New York：Glenn Horowitz Bookseller，2000)．
330 Linda Cathcart,"The Western Image in New Work: Longo, Sherman, Zwack," Arts Quarterly(Fall 1979), p. 8.
331 "I tried a few, like Indian type[sic] of women and they really looked kind of ridiculous," Sherman in Cindy Sherman: An Interview.
332 "the stills are difficult to print because the accidents she intially had in the darkroom must be emulated with dodging and burning in." Sherman in"The Making of Untitiled," The Complete Uhtitled Film Stills, p. 10.
333 当时的批注相对于后来的编号如下:Untitled Film Stills(Black Bra), 1977[6] Untitled Film Stills(Lincoln Tower Girl—exiting door), 1978[20] Untitled Film Stills(Lincoln Tower Girl—close-up), 1978[17] Untitled Film Stills(Lincoln Tower Girl—street walker), 1978[18] Untitled Film Stills(Lincoln Tower Girl—Mdeium portrait), 1978[19] Unfilled Film Stills(City Girl—close-up), 1978[21] Unfitled Film Stills(City Girl—decending stairs), 1978[22] Untitled Film Stills(City Girl—meidum view), 1978[23] Untitled Film Stills(Pier Girl—close-up), 1978[24] Untitled Film Stills(Pier Girl—view looking from above, 1978[25] Untitled Film Stills(Window Gazer), 1978[15] Untitled Film Stills(Librarian), 1978[13] Unfitled Film Stills(Cigarette Lit), 1979[32] Untitled Film Stills(Emerging Swimmer), 1979[45 or 46] Untitled Film Stills(Phillips Living Room), 1979[50] Untitled Film Stills(Mirrored Bar—Phillips), 1979[49] Untitled Film Stills(Monument Valley Gril), 1979[43] Untitled Film Stills(Mexican Church), 1979[42] Untitled Film Stills(Flagstaff Train Station), 1979[44] Untitled Film Stills(Hitchhiker), 1979[48]
334 如各种选美的命名会在其后加上Girl，如1957-1976年间Breck Girl是发型模特儿比赛。所以冠上Girl会使人联想到一种典型的模范或是模特儿。
335 "Cindy Sherman's work deals exclusively with self-portraiture. Her large-scale black-and-white photographs tend to be made in groups—inspired by a place or specific seting." Linda Cathcart, Cindy Sherman.
336 "Derived from movie stills, photographs imply narrative sequences which are never completed. In almost all her work she is seen alone in the setting. Always the environment can be recognized. It is in the West, at the pool, in the kitchen—and is evocative and mysterious settings. What concerns us most is our own position in relationship to the scene and the fighre in the photographs invite psychological interpretations and set off an imaginative process. Out first responses are not made directly to the formal aspects of her work but rather are directed towards the meanings of her images. These images are at once stereotypical and generalized and yet also specified by Sherman's use of herself rather than an anonymous model. Sherman's image provoke associative thinking and encourage speculation about place and role." Ibid.
337 "Once viewer realizes that the artist is the character, the situation becomes more complex. By not using models, Sherman connects us directly to her personal fantasies. We are presented with scenes that have traditional associations and we are surprised by Sherman's appearance in these contexts." Ibid.
338 "Essentially the use of self-portraiture opens questions of autobiography. Her figure which is seen stopped on the street or beside a pier, Leaning in a doorway, sitting on a bench or a windowsill, tells us about Sherman and her feel ings about her place as well as her rold....We are not confused about her surroundings—they are trite, cliched and easily knowalbe. Rather we bocome ovservers as Sherman progresses through her day as housewife, hooker, clown, lover, bathing beauty and artist. She is tired, bored, angry, wary and sad. Through her gestures and costumes, Sherman translates her feelings about how we should all feel about ourselves and our situations. Her photographs are recepticals[sic] for a strongly felt and rather mysteriously vague sense of person and place." Ibid.
339 Douglas Crimp,"Cindy Sherman: Making Pictures for the Camera," Young Americans(Oberlin: Allen Memorial Art College, 1981), p. 87.
340 "The conventions inherent to the photographic medium will determine the ways in which the world can be either seen or represented...It is not the properties of the photograph but the properties of the world that are understood to be conventionalized, and pictured as conventionalized through the instrumentality of the photograph." Ibid., p. 87.
341 "Rober Frank was a spector observing'Americans representing themselves to the camera, Americans making of themselves cultureal objects,...Sherman is the actor who literalizes this representing activity by enacting it for the camera itself." Ibid., p. 87.
342 "Sherman's photographs are not, strictly speaking, self-portraits. Even though it is Sherman who poses for them they disclose nothing about Sherman or her feelings. We cannot learn so much as the natural color of Sherman's hair by looking at these photographs. Instead, they show the ways that we represent ourselves to the world through the asumption of those roles that the world makes available to us. As such, her photographs reverse the terms of art and autobiography. They use art not to reveal the artist's true self, but to show the self as an imginary construct. There is no real or true Cindy Sherman in these photographs; there are only the various guises she assumes. And she does not create these guises; she simply chooses them in the way that any of us do. The pose of authorship is dispensed with in her photographs not only though the mechanical means of producing the image, but through the effacement of any continuous, essential persona or even recognizable visage in the scene depicted." Ibid., p. 88.
343 "The perfection with which certain stereotypes were captured in the film stills made it possible for viewers to stand outside Sherman's enterprise, to view it as parody." Ibid., p. 90.
344 "And this is the stength of Sherman's work. She does not allow us the pretense that we are immune from the culture in which we are participants, just as she does not allow herself the pretense of authorship. She knows that in order to have anything to say about any situation, one must recognize the extent to which one is already implicated in that situation, has not escaped its control. For the same reason, Sherman has chosen to make photographs in which she herself is always the subject in order that she might point to the ascendancy of photography and autobiography in current art practice." Ibid., p. 91.
345 "...I acctually felt that some of Sherman's photographs could have been me. Others seemed to be of people I've known. The emotional content is of Sherman herself, who is the right actress and artist to pull it off with subtlety.Movies are an appropriate symbol as Sherman is dealing with our personal fantasies which have been formed, to varying degrees, through Hollywood and television. Like a number of other woman artists, Carolee Schneeman being a prominent example, Sherman is her own subject and, in eash picture, we witness her trying out different female roles. The emotional content of the picture comes from the real person, who we occasionally glimpse under the societal veneer." Lynn Zelevansky,"Cindy Sherman," Flash Art(March-April 1981), p. 43."She is artist and model, actress and director. She tells us that the subject and maker are one and the same and thus her dream is fulfilled, the possession of it entirely her own...we see through to her....The image becomes and isolated precise thought." Michael R. Klein,"Cindy Sherman," Arts(March 1981), p. 5.
346 "The artists' interest in the use of regenerated thematic imagery which causes them to use western images....All three use sequential, cliched, romanticzed, serialized imagery found in our daily life for their work's impact; a life where we learn about things through newspapers, magazines, radio, television, and the movies. Each artist's work is connected bythe use of'typical' or'cliched' interpretations of the West..." Cathcart, op. cit., p. 8.
347 "...we've been faced with the return of narrative art." Thomas Lawson,"The Use of Representation: Making Some Distinctions," Flast Art(March-April 1979), p. 38.
348 "...they share a renewed interest in the problem of representation." Ibid., 37.
349 "Their images do not refer to the world at large, but instead to the world of other images—art history, magazine illustrations, news photographs, cinema and television. Traditionally, art containing recognizable images has been one of the main connections of modernist art and theory that such meanings are suspect, and that the significance of art is to be found solely within the structure of the work itself. Despite the return to figuration, our work remains within the modernist tradition by imposing a distance between itself and the world. For if a representation is nothing but a substitute for real presence, the representation of a representation involves a double nullity, and all that's left is the structure of representation itself as a mode of signification. Which is to say, our art is cool, detached, analytic. It doesn't pretend to present experience but instead examines the visual codes by which we attempt to encapsulate the events of our lives." Ibid., p. 38.
350 "It is possible to make art making use of a variety of representational conventions withou8t resorting to a confessional impulse. It is possible to make art with a psychological content not depending on narcissistic exhibitionism. It is possible to make art about personality while remaining indifferent to personality. It is possible to make art addressing itself to affect and sentiment withoug losing a sense of irony and detachment. I know this is possible because a group of my friends and myself have been making such art." Ibid., p. 37.
351 "...a group of younger artists sees representation as an inescapable part of our ability to graspthe world around us,"Douglas Crimp, Pictures(New York: Committee for the Visual Arts, 1977), p. 5.
352 "...representation is understood as the only possibility of grasping the world around us." Douglas Crimp,"About Pictures," Flash Art(March-April 1979), p. 34.
353 "...the quality of representation, providing the kind of sensation that we experence as deja vu." Crimp, Pictures, p. 87.
354 Crimp,"About Pictures," p. 34.
355 "While we looking at these photos, we will not know ezactly what is happening, but we will know for certain that something is happening, and that that something belongs to a fictional narrative. Viewers who attempt to reconstruct the narrative fiction implied by the photos take the wrong tack. What we should focus on here is the way the photographs call attention to constructed narrative time and thus shatter the illusion that a photo can capture supposedly natural"real" time."Crimp,"Pictures," p. 80.
356 "The still photograph is generally thought to announce itself as a direct transcription of the real preciselyl in its being a spatiotemporal fragment; or, on the contrary, it may attempt to transcend both space and time by contravening that very fragmentary quality. Sherman's photographs do neither of these. Like ordinary snapshops they appear to be fragments; unlike those snapshots, their fragmentation si not that of the natural continuum, but of a syntagmatic sequence, that is, of a conventional, segmented temporality. They are like quotations from the sequence of frames that constitutes the narrative flow of film. Their sense of narrative is one of its simultaneous presence and absence, a narrative ambience stated but not fulfilled." Crimp,"Pictures," p. 80.
357 Schjeldahl,"An Interview with David Salle," p. 37.
358 "Actually, the moment that I realized how to solve this problem was when Robert and I visited David Salle, who had been working for some sleazy detective magazine. Bored as I was waiting for Robert and David to get their'art talk' over with, I noticed all these 8-by-10 glossies from the magazine which triggered something in me.(I was never one to discuss issues—after all, at that time, I was the'girlfriend')" Sherman cited in Siegel, pp. 271-272.实际上萨尔所工作的杂志社所发行的是男性色情刊物《史塔克》(Stag字意为只有男性可以参加的聚会),内容是黄色的侦探故事。
359 "One day several years ago, in the studio of David Salle...Sherman saw a soft-porn magazine photograph of a'housewife looking sexy' and decided she'd try to look like that. Thus were born the'Film Stills'... Miss Sherman says she was not consciously making a feminist statement when she began these pictures.'I never though of it as political work,' she says.'I don't think of myself as a very political person'—though her work resonates with issues troubling to any woman who has lived through those decades." Vicik Goldberg,"Portrait of a Photographer," p. II-29.
360 "Sherman spent a good part of that night leafing though the porno pictures. They intrigued her. That fall, Sherman and Longo moved to a new loft on South Street and Sherman took a job as a receptionist at Artists Space. And she spent a lot of time thinking about those images. They didn't shock her; she wasn't particularly troubled about issues like exploitation. She was far more fascinated by their mechanics, their form.'They seemed like they were from 50s movies, but you could tell they weren't from real movies,' she says.'Maybe they were done to illustrate some sleazy story in a magazine. They were women in these situations. What was interesting to me,'she continued,'was that you couldn't tell whether each photograph was just its own isolated shot, or whether it was in a series that included other shots that I wasn't seeing. Maybe there were others that continued some kind of story. I was really ambiguous." Gerald Marzorati,"Imitation of Life," ARTnews,(September 1983), p. 85.
361 Cindy Sherman(Dijon: Deja vu, 1983)
362 I started with Godard and Japanese films. Gradually, I began seeing just regular trash films. Sherman cited in Vicki Goldberg,"Potrait of a Photographer as a Young Artist," New York Times(October 23 1983), p. II-29.
363 Ibid., p. II-29.
364 Barbara Miller,"Sherman's Mass Appeal," Afterimage(November-December 1997), p. 6.
365 "I called them film stills mostly because I was thinking of publicity stills like you'd see around Forty-second Street, in boxes of hundreds of them for thirty-five cents each." Paul Taylor,"Cindy Sherman," Flash Art(Octover-November 1985), p. 78.
366 "I wanted to seem cheap and trashy, something you'd find in a novelty store and buy for a quarter. I don't want them to look like art." Tomkins,"Her Secert Identiteds," p. 78.
367 “…dressed herself in clothes ftom thrift shops…fifties and sixcies dresses could look old and new because of the contemporary aesthetic of thrift．Thrift culture was being embraced in the 70s as an antidote，the refusal 0f commercial fashion and its dictate to imitate；those who wore thrift were living simply，closer to the ground，using the old coat as a badge of alienation．”Molly Nesbit，“Bright，Light，Big City，”Artforum(April 2003)，p．189．内斯比也将穿戴这种识别标记和表现疏离感的人，理解为纽约的一群“挪用」艺术家，她认为挪用是一种共同对二手文化的热爱，如萨尔、舍曼等都是属于这一群人。Ibid．，p．245．
368 "The idea of kitsch is understanding the irony of it. It's so bad it's good." Sherman cited in Goldberg,"Portrait of a Photographer as a Young Artist," p. 29.
369 罗森写到对当时纽约的印象：“除了在纽约的艺术停滞不前，还有很多其它的事物让我们了解纽约。整个城市接近毁灭，所有的都市结构都在恶化，如高速公路倒塌，到处是危险的桥梁，地铁快要停止运行。在城里的贫穷区域，屋主弃置了他们的房子，其它的区域，则是投机的房地产交易猖獗。」"While art was stagnating in New York there were plenty of other things to look at and think about. The city itself was nearing bankruptcy, its physical structure rapidly deteriorating—one highway had collapsed, the bridges were declared in danger, the subways were more and more likely to breakdown. In poor parts of town, buildings were being abandoned by their owners, while in others, real estate speculation was rampant." Thomas Lawson,"We Must Embrace Our Joys and Sorrows," ZG3(1981).
370 "During the first year after graduation, I stayed in Buffalo and resisted the idea of going to New York. I think a lot of it came from the fear that ray parents instilled in me. Even though I grew up less than one hour from the city, my parents made everybody in the family think that New York is an evil place where you're going to get mugged or raped. There was no question of my going to school in the city, which is why I went to Buffalo. I think that was still in my mind; I was still afraid of New York[in 1977]. Noriko Fuku,"A Woman of Parts." Art in America(June 1997), pp. 78-79.
371 "The first summer I was just so intimidated by the city I was afraid to leave the house. It had a lot to do with just growing up. It was a totally different way of getting by from day to day compared to living in someplace like Buffalo. The structure of a day, for instance, is so different; the way you just have to deal with walking down the street or the public transportation, and the hassles from all the people in the street. It was very hard to get used to. It took me about a year to sort everything out." Sherman cited in Thompson.
372 "I was really shocked at how I was treated just walking down the street." Sherman cited in Cindy Sherman: Nobody's Here But Me.
373 "I remember men on the street being a lot more disgusting to women. But then, I was coming from Buffalo, and maybe I still wasn't wearing bras. I immediately started wearing bras." Sherman, 5,000 Artists, p. 85.
374 "In order to feel comfortable in city you have to have street persona....And then you have your other persona when you get inside." Sherman cited in Cindy Sherman: Nobody's Here But Me.
375 "I've gone through many stages where I ahd a boy's haircut and the punk stage where you just wear sunglasses on the street and almost a little suit so that nobody can even tell you're a woman." Sherman cited from Cindy Sherman: Nobody's Here But Me.
376 "I really changed my identity to be more butch, almost military. I wore an army coat to be more neutral on the streets." Sherman, 5,000 Artists, p. 85.
377 "If I was walking down a street that was scary, I would just try to look like I migh have a knife or gun in my pocket, so don't mess with me." Sherman cited in Cindy Sherman: Nobody's Here But Me.
378 Tomkins,"Her Secret Identities," p. 77.
379 "I wanted to blend in more with the people that on the street.... I didn't want to look like another weirdo, so I...started dressing up like secretaries or ordinary-looking people.... Eventually I stopped dressing up and going out in public altogether because it was just too weird an experience to be entertaining the people that knew I was dressed up." Cindy Sherman: An Interview.
380 "Predatory reactions from men in the streets dissuaded Sherman from keeping up her quotidian performances.'It's too scary losing yourself in New York,' she syas. She adopted a more pragmatic masquerade—'threatening and asexusal to fend off creepy guys'—and'blended in as just another weird person on the street.' She simultaneously channeled her bent for being other than Cindy Sherman into her art, and the results were electric." Schjeldahl,"She is a Camera," p. 18."Sherman found herself uncomfortable playing dress-up in Manhattan.'It was like losing my own identity. I felt too vulnerable,' she says. She continued dressing up in the loft she and Longo shared on Fulton Street, and taking black-and-white pictures of the results." Hoban,"Sherman's March," p. 243.
381 "She hadn't realized until Janelle's show that she didn't want ot dress up anymore." Sherman, 5,000 Artists, p. 85.
382 "She'd get dressed and put on her makeup, and then never leave the apartment." Tomkins,"Her Identities," p. 77.
383 "She'd put on all this fucking makeup, put my socks in her tits and come overto me looking like a fucking transvestite.'Ooh, give me a kiss,' she'd say. Horrible. But then you'd see the photographs, and she'd look fucking hot." Taylor,"Face to Face with Cindy Sherman, p. 83.
384 Evans, op. cit., p. 242.
385 纽约市的拍摄场景：London Terrace Apartments in Chelsea(17-20)；Chelsea piers(24-25)；area around Bowling Green(21-23)—old Customs House(22)；neighborhood’s oId cobblestone(23)； Standard Oil building and number 2 Broadway(21)；World Trade Center(57，59，63)；Barclay·Vesey New York Telephone Building(58)．See Evans，op．cit．，p．243．
386 Catherine Morris, The Essential Cindy Sherman(New York: Wonderland Press, 1999), p. 40.
387 在舍曼的底片缩图中可看出原本7号剧照原本的构图里有一男性，后来则被舍曼裁切了。Cindy Sherman：Retrpspective．
388 "Sherman always conceived the character in the stills as relating to another figure, who is either partially seen or imagined. The edge of a sweater against the back of the chair discernible in Unititled Film Still #5, for example, is a propused to imply another character.[...] Intended to portray a dialogue between two people—not a moment of introspective self—examination—the scenarios are often quite involved in Sherman's mind. She describes Untitled Film Still #14 as possibly the most thought out and set up of her scenes. A single glass of wine and a jacket hanging from a chair, both visible only in the mirror, suggest the off-camera presence of a second person, one to whom the character has turned and who is the cause of her distress. Like the mirror in #14, the framed photograph on the wall in Untitled Film Stills #16 hints at a dialogue with another person. For Sherman, the woman is'Jeanne Moreau kind of character,' and the man in the picture on the wall behind her might be the'father who ahs cut her out of the will.'" Phyllis Rosenzweig,'The Untitled Film Stills,"(Washington, D.C.: Hirshhorn Museum, 1995).
389 I still wanted to make a filmic sort of image, but I wanted to work alond. I realized that I could make a picture of a character reacting to something outside the frame so that the viewer would assume another perosn." Siegel, op. cit., p. 271
390 "...because I had to photograph myself alone, I had to act either like there was someone out of frame watching me, or as though I was really alone." Taylor,"Cindy Sherman," pp. 78-79.
391 "...allegory means'other speech'(alia oratio), from allos, other, and agoreuein, to speak openly, to harangue in the agora; it signifies and open declamatory speech which contains another layer of meaning." Marina Warner, Monuments and Maidens: The Alleogory of the Female Form(New York: Atheneum, 1985), p. xix.
392 "...a human reconstitution of divinely inspired messages, a revealed transcendental language which tries to preserve the remoteness of a properly viled godhead." Angus Fletcher, Allegory: The Theory of a Symbolic Mode(Ithaca: Cornell University Press, 1964), p. 21.
393 "In allegory we are not dealing with multiple meanings engendered by a single sign: rather, two clearly defined but mutually incompatible readings are engaged in blind confrontation in such a way that it is impossible to choose between them."Craig Owens,"The Allegorical Impulse: Toward a Theory of Postmodernism," Art After Modernism: Rethinking Representation, p. 220.
394 "De Man recognizes allegory as the structural interference of two distinct levels or usages of language, literal and rhetorical, one of which denies precisely what the other affirms." Ibid., p. 221.
395 "We cannot settle and say that the poem simply has two meanings that exist side by side. The two readings have to engage each other in direct confrontation, for the one reading is precisely the error denounced by the other and has to be undone by it. Nor can we in any way make a valid decision as to which of the readings can be given priority over the other; non can exist in the other's absence." Paul de Man cited in Owens, p. 222.
396 "When the postmodernist work speak of itself, it is no longer to proclaim its autonomy, its self-sufficiency, its transcendence; rahter, it is to narrate tis own contingency, insufficiency, lack of transcendence. It tells of a desire that must be perpetually deferred; as such, its deconstructive thrust is aimed not only against the contemporary myths that furnish its subject matter, but also against the symbolic, totalizing impulse which characterizes modernist art." Ibid., p. 235.
397 "A film still suspends not only motion but also story, diegesis; engendered by the syntagmatic disjunction of images, compels a vertical or paradigmatic reading." Craig Owens,"The allegorical Impulse: Toward a Theory of Postmodernism," October(Summer, 1980), p. 81.
398 "...a signifier without a sinified," Ibid., p.82.
399 "the obtuse meaning has something to do with disguise, Barthes identifies it with isolated details of makeup and costume(which properly belong to the literal level which, through excess, proclaim their own artifice.... work to expose the image as fiction." Ibid., p. 82.
400 "Since the obtuse meaning ahs no objective, independent existence, it depends upon the literal and the rhetorical, which it nevertheless undoes. An unwelcome supplement, it exposes the literal level of the image to be a fiction, implicating it in the web of substitutions and reversals properly characteristic of the symbolic. The actor is revealed as the(metaphorical) substitute for character; his facial contortions, the emblem of grief, not its direct expression. Hence every image that participates in what photography criticism calls the directorial, as opposed to the documentary, mode is open to the intervention of obtuse meaning. And the symbolic dimension of the image, which depends upon the univocity of the literal, is thereby disfigured..." Ibid., pp. 82-83.
401 "Sherman's women are not women but images of women, specular models of femininity projected by the media to encourage imitation, identification..." Ibid., p. 84.
402 "It is the uncanny precision with which Sherman represents these tropes, the very perfection of her impersonations leaves an unresolved margin of incongruity in which the image, freed from the constraints of referential and symbolic meaning, can accomplish its'work.' That work is, of course, the deconstruction of the supposed innocence of the images of women projected by the media, and this Sherman accomplishes by thoroughly, that artist and role appear to have merged into a seamless whole..." Ibid., p.84.
404 "Realism's aim was to give a truthful, objective and impartial representation of the real world, based on meticulous ovservation of contemporary life." Linda Nochlin, Realism(Harmondsworth: Penguin, 1971), p. 13.
405 "Painting is an essentially concrete art and can only consist of the representation of real and existing things. It is a completely physical language, the words of which consist of all visible objects; an object which is a abstract, not visible, non existent, is not within the realm of painting." Gustave Courbet cited in Nochlin, Realism, p. 23.
406 "a fish, captured in paint", Ibid., p. 73.
407 Charles Rosen and Henri Zerner, Romanticism and Realism: The Mythology of Nineteenth-Century Art(New York: Viking, 1984), pp. 176-177.
408 "If contemporary life was to be represented with its banality, ugliness, and mediocrity undistorted, unromanticized, the the aesthetic interest had to be shifted from the objects represented to the means of representation...although it is sometimes see as odd contradition in Realism, it is, in fact, the condition of tis existence." Ibid., pp. 149-150.
409 Charles F. Stuckey,"Manet Revised: Whodunit?" Art in America 71.10(November 1983), p. 163.
410 Manet, cited in Cachin, Manet, p. 182.
411 "Tell them aloud, then, cher maitre, that a painting is for you a mere pretext for analysis. You needed a nude woman, and you chose Olympia, the first to come along; you needed clear and luminous tones, and you introduced a bouquet; you needed black tones, and you placed in a corner a Negress and a cat. What does all that mean? You hardly know, and neither do I." Emile Zola, cited in Reff, Olympia, pp. 22-23.
412 Andre Malraux, cited in Bataille, p. 55.
413 Eunice Lipton,"Manet: A redicalized Female Imagery," Artforum 13.7(1975) pp. 48-49.
414 T. J. Clark,"Olympia's Choice," The Painting of Modern Life: Paris in the Art of Manet and his Followers(New York: Knopf, 1985), pp. 79-80.
415 Grieslda Pollock, Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History(London: Thames & Hudson, 1992), p. 20.
416 《现场》在1964到1965年间在多处表演，1993年重新编入莱那(Yvonne Rainer)的舞蹈节目中。Yovnne Rainer，“A Ouasi Survey of Some‘Minimalist’Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora，or An Analysis of Trio A，”Minimal Art：Acritical Anthology，ed．Gregory Battcock(Berkeley：University of California Press，1995)，p．263-273．《现场》实际上意指的是工地现场(construction site)。
417 "The action on stage is organized as a kind of tableau vivant. Downstage left, a white box conceals the hardware for the soundtrack—a tape of construction workers drilling with jackharmmers. Upstage an right of center, Robert Morris stands with his back to the audience. Several minutes later, he walks upstage center to a large structure composed of whitewashed plywood boards and slowly begins to take it apart. Dressed in work clothes, his hands and feed protected by heavy work gloves and boots, he wears a papier-mache maske designed to re[roduce, without expression, his facial features. As Morris removes the heavy boards, relocating them to other parts of the stage, he exposes Carolee Schneeman reclining on a lounge of pillows and white favric. Naked except for a dusting of white powder and a ribbon around her neck, she is posed in the manner of Edouard Manet's Olympia...After Schneeman is fully revealed, Morris walks downstage left, where he moves one of the sheets of plywood into various positions(e.g. carrying it on his back, kneeling next to it). Several minutes later Morris walks back to Schneeman and covers her with the board. He then returns downstage left and turns his back to the audience as the house lights dim." Maurice Berger, Labyrinths: Rovert Morris, Minimalism, and the 1960,(New York: Icon Harper & Row, 1989), pp. 81-82.
418 Henry M. Sayre, The Object of Performance.
419 "Site explores the relationship between the picture plane(the plywood panels) and the third dimension(the performers)." Kimberly Paice, Site in Robert Morris: The Mind/Body Problem(New York: Solomon R. Guggenheim Foundation, 1994), p. 168.
420 Douglas Crimp,"The Photographic Activity of Postmodernism." On the Museum's Ruins,(Cambridge, MA and London: The MIT Press, 1993), pp. 108-109.
421 "Real allegory: the world gives itself in representation, no other way, and so also gives itself beyond or in excess of its identity, demanding reading, not because it is hiding but because it is there. Stephen Melville,"The time of Exposure: Allegorical Self-Portraiture in Cindy Sherman," Arts Magazine 60.5(January 1986), pp. 17-21.
422 傅妮契岁(Annette Funicello)与马格瑞特(Ann-Margret)为美国60和70年代最受欢迎的女演员。
423 “Cindy Sherman’s‘Still’series mines the genre of film-publicity photos with a touch of irony and a fir shake of wistful longing．She’s her own New York new wave heroine，dressed up as Annette Funicello or Ann-Margret，lounging in a Hollywood ski lodge or standing anxiously aside a road．”Andy Grundberg，“Artbreakers：Cindy Sherman，”SoHo geekly News(Septerber 17，1980)，p．37．泰勒则比喻如果这群挪用艺术家是个新浪潮乐团，舍曼则是其中的主唱女歌手。“Sherman was one of the stars 0f this group．much like a lead female signer in a new wave band…”Taylor，“Face t0 Face with Cindy Sherman，”p．84．
424 Evans, op. cit., pp. 272-273.
425 Ibid., p. 274.
426 Ibid., pp. 275-294.
427 "The stereotype functions as a refusal to understand the artist as a source of originality..." Rosalind Krauss,"A Note on Photography and the Simulacral," October 31(Winter 1984), p. 59.
428 舍曼可能在参与1977年“廊墙」艺廊的“何时何地展」(WHERENWHEN)时遗失了这张照片的缩图目录和底片。对这张照片她有两种不同的说法，第一种是她原本一开始就想展出这张照片，但是找不到底片和照片。Cindy Sherman，“The Making of Untitled，”p．7．第二种说法则是她在1977年的展览并没有想要包含这张照片。Michael Kimmelman，“Unambiguously Cindy，”New York Times Magazine(October 5 2003)，p．32．
429 "...the image seemed too mysterious to me. I thought you couldn't see the character. But now I find her emblematic of the whole group. It's a perfectly ambiguous picture." Sherman cited in"Unambiguously Cindy," New York Times Magazine(October 5 2003), p. 32.
430 Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot,(Berkely: University of California Press, 1980), p. 4.
431 Eunice Lipton,"Manet: A redicalized Female Imagery," Art forum 13.7(1975) pp. 48-49.
432 "A nude...is a picture for men to look at, in which Woman is contructed as the object of somebody else's desire." T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers(New York: Knopf, 1985), p. 131.
433 "A nude hardly be said to do its work as a painting at all if it did not find a way to address the spectator and give him access to the body on display. He had to be offered a place outside the picture and a way in; be assured somehow that his way was the right one, leading to the knowledge he required." Ibid., p. 132.
434 1865年《奥林匹亚》在沙龙展出时，女性如尤吉尼皇后(Empress Eugenie)也被这幅画所激怒。
435 马奈在1868在画室搭了作家办公室的场景，为佐拉画了一幅《艾米尔·佐拉的肖像》(Portrait，d'Emile Zola)，画中马奈安排将画作《奥林匹亚》挂在佐拉的书桌上方。马奈在这幅肖像画中似乎更 强调了奥林匹亚的在原画中的安排，她的目光投向左斜前方，向下望着她的(《奥林匹亚》的)拥护者，她明白的表现出她的焦点和兴趣是在佐拉的身上。
436 沙辛(Francoise Cachin)陈述在幕后的接待是可能有她的仰慕者。“the flower refer us to the invisible admirer who may be waiting behind the green curtain of the antechamber．”Francoise Cachin，Manet，p．53．十九世纪的评论家也推测那束花可能是某位男士买来送给她的。“The bouquet was bought at the florist’s on the corner，and paid for by Monsieur Arthu...Arthur is certainly in the antechamber waitng．”Postwar cited in Clark，p．87．
437 Sarah Evans．Figures for a Melancholy Mind：Absorption and Allegory jn Edouard Manet’s Images of Berthe Morrisot and Victorine Meurent(Ontario：Trent University，1998)，p．104．
438 透过X光的检验显示出作品原先的安排，两缕布帘之间的原始距离较大，马奈将布帘拉近，使得中间只剩下一条缝隙，用意是暗示观众被拒绝邀请到后面的空间。
439 Farwell, Manet and the Nude, p. 226.
440 如弗莱德(Michael Fried)在《马奈的现代主义》(Manet’s Modernism)中所提到的，马奈的作品面对观众，并告知观众他的存在，其目的是为了要把观众排斥在外。“One effect of Manet’s stratrgy，and doubtless also a principal cause of extreme provocation that hi s paintings typically offered to contemporary audiences．is that the beholder sensed that he had been made supererogarory to a situation that ostensibly demanded his presence，as if hi s place before the painting were already occupied by virtue Of the extreme measures that had been taken to stake it out．”Michael Fried，Manet’s Modernism，p．266．事实上在幕帘后方等待的男士，有可能正是马奈自己。在马奈在他的版画集(Manet：Eaux-fortes)的封面里将自己比喻为戏剧中的丑角(Polichinelle)，除了他所画的帽子及吉他外，丑角一般的演出是从幕帘后探出头来。弗莱德也提到瑞夫(Theodore Reff)解读马奈认为“丑角」是他的另一个自我。Ibid．，p．48-54．
441 甚至在1867年在《美女之惊惶》中加上萨梯的男性角色，以避免如同奥林匹亚所产生的效应。但是在马奈死后，马奈家族中的成员又将萨梯的角色删除，艾凡斯推测可能是《美女之惊惶》的模特儿苏珊所为，她认为苏珊可能为了维护马奈创作的原意而将画中男性角色删去。Evans，Ibid．，pp．106-107．
442 "One reason the pictures are so compelling is that Sherman never seems to be acting in them—she projects the character trough subtle, understated relationships between her expression,her clothes, the background, the lighting, and a general atmosphere unique to each image." Calvin Tomkins,"Her Secret Identities," New Yorker(May 15 2000), p. 78.
443 "Sherman is not a'real actress,' though she's close. She's not comedienne or a dancer or a model or a mime, though she's close on those counts too. She maybe someone who stays, all alone, inside the place that the difference types of performers differently emerge from...She is always signaling emergence but never emerging, eternally a chrysalis." Schjeldahl,"She is a Camera," p. 20.
444 "...the appeal of Sherman's art hinges on the fact that she is being watched by an audience that is excluded from the action. She is at once totally visible and unfathomable. She is forever being consumed by the people who look at and buy her phtographs, but she cannot be entirely possessed by them." Taylor,"Face to Face with Cindy Sherman," p.85.
445 Judith Williamson,"Images of'Woman': Judith Williamson Introduces the photography of Cindy Sherman." Screen(November-December 1983), p.104.
446 "...the dandy is everyman's pose." Hal Foster,'The Problem of Pluralism," p. 13.
447 "... the'realism' of prositute", John Berger, Ways of Seeing(New York: Penguin Books, 1977), p. 63.
448 Griselda Pollock,"Modernity and the spaces of Feminity," Vision and Difference: Feminity, Feminism and the Histories of Art(London and New York: Routledge, 1988), p. 55-80.
449 Ibid., pp. 80-90.
450 若将浪荡子定义仅限于制布尔乔亚的阶层，则如波洛克所言，既没有也不可能会有浪荡女。
451 莫涵也曾以马奈模特儿之名为其展览宣传印制名片，内容为“我是奥林匹亚，马奈先生名画中的主题人物，我邀请你来看这张素描，谢谢你。」Tabarant，“Celle qui fut l’Olympia de Manet”，p．39．“I am Olympia，the subject of M．Manet’s celebrated painting．I invite you to look at this drawing．”cited jn Eunice Lipton，Alias Olympia，p．153．
452 在Cindy Sherman1985年舍曼的先生奥德(Michel Auder)所摄的录像中，舍曼的工作模式是白天听着音乐拍照，晚上则在整理底片时则开着电视，如果电视出现特别的声音引起她的注意，她会将视线瞄向屏幕，然后继续工作。Cited in Evans，p．106．
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2 如技师、铜匠、珠宝师、棉织工、印布工、铺路工、陶艺匠、铁匠、羊毛匠、马车匠、大理石匠、镜子工匠、水管工、火炉工、洗衣工、木匠、钢琴制造师、油漆匠、壁纸工、眼镜工匠等等。Margaret Mary Armbrust Seibert，“A Biography Of Victorine-Louise Meurent and Her Role in the Art of Edouard Manet，”Ph．D．diss．，Ohio State University，1986，pp．44-46．
3 Ross King, The Judgement of Paris: The Revolutionary Decade that Gave the World Impressionism(New York: Walker & Company, 2006), p. 38.
4 矛贝尔广场(place Maubert)附近住着各类小家庭式商店的商人，有做猪汕糕的、卖种子的、卖香料的、拔牙的，还有专门捡巴黎街头剩余烟蒂回来卖的人；也住着许多游手好闲的人、妓女、无业游民，还有些专门在城里地下水沟捞捡东西吃的人。Seibert，Manet，pp．53-54．
5 迈特赫—阿贝尔街上的亚维庸旅馆(The Hotel de l’Averyon)，在入住的第一晚需要付60生丁(法郎的百分之一)之后每晚是30生丁。这里破旧床褥上有梅毒病菌的感染，房里有锌制洗脸盆，和当做尿盆用的水桶，没有桌子、椅子，也没有肥皂或是毛巾。墙上贴着告示请住客将钥匙留在门上。警察在天亮前随时会破门而入，抓起一个看似嫌疑且正在睡觉的人，用提灯照亮他的脸，如果有任何人反抗，则会招来一顿毒打。Seibert，Manet，p．54．
6 Adolphe Tabarant, Manet et ses oeuvres(Paris: Gallimard, 1947) in 1947 and Pierre Courthion, Manet raconte par lui-mere et par ses amis(Geneva, 1953), quoted in Seibert, Manet, p. 58.
7 莫涵就像是个可亲的妓女，而马奈像是个巴黎的花花公子。Beatrice Farwell, Manet and the Nude: A Study of Iconography in the Second Empire(Taylor & Francis, 1981),pp. 162-163.
8 "She lived in the most evil places, or she would be a free Bohemian, model for painters, libertine of the brasseries, lover for a day, she of course claimed herself to be of illustrious parentage...a product of a great city, the street errant, fatigued from the pavement, dirtied from the gutters. In her short childhood, she knew contrary fortunes, the highs and lows of existance... knowing women of the flesh at sixteen...this is one stray of civilization destined for misery and the hospital," Gustave Geffroy, La Vie Artistique I, a description of Olympia, dated Feb. 10, 1890 on the presentation of the painting to the state, pp. 19-20, quoted in Seibert, Manet, p. 58
9 Beatrice Farwell, Manet and the Nude: A Study of Iconography in the Second Empire(Taylor & Francis, 1981) pp. 28, 30.
10 Theodore Duret, Manet and the French Impressionists, trans. E. Crawford Flitch(New York: 1937)
11 "Seibert, Manet, p. 82.
12 萨梯(Satyr)为希腊神，也为好色之徒。
13 Rodalind E. Krauss,"Manet's'Nymph Surprised',"Burlington Magazine, 1967, p. 624.
14 Beatrice Farwell, Manet and the Nude: A Study of Iconography in the Second Empire(Taylor & Francis, 1981) p. 220.
15 "Rosalind E. Krauss,"Manet's'Nymph Surprised',"Burlington Magazine, 1967, p. 623. The servernt figure was found in x-ray photos.
16 Franchise Cachin, Manet 1832-1883(New York: Harry N. Abrams) 1983, p. 88.
17 Seibert, Manet, p. 86.
18 佐拉(Emile Zola)的小说《杰作》(L’oeuvre)中描述画家丈夫蓝提耶(Claude Lantier)与其妻子克里斯廷(Christine)与模特儿蓓蔻(Irma Becot)之间所存在的复杂问题：模特儿之被物化、妻子与模特儿角色的错乱、19世纪末法国社会对裸体模特儿行业的评价等等一连串的问题。
19 C. V. Wheeler dated this portrait to the year of 1861, Manet,(Washington D. C.) 1930, p. 11.
20 Francoise Cachin, Manet 1832-1883(New York: Harry N. Abrams) 1983, pp. 104-105.
21 Pierre Courthion and Pierre Cailler, eds., Portrait of Manet by Himself and His Contemporaries, trans. Michael Ross(London: Cassell, 1960), p. 10, 54.
22 Anne Coffin Hanson, Manet and Modern Tradition(New Haven and London: Yale University Press) 1980, p. 76.
23 "...If a student is ill, his faithful grisette nurses him and cures him; if he is desitute, she works for him; and if he falls into irretrivable misgortune, she dies with him," J. Sanderson, The American in Paris(Philadelphia) 1839, pp. 212-213, quoted in Seibert, Manet, p. 90.
24 Farwell，Nude，p．158．“lorette”这个字是由Nestor Roqueplan在Goncourts(The Goncourt Journals，New York，New York，1937，Dec，6，1866 and 230，n．5)里所发明的，是形容出没在诺特丹—罗惠特路(rue Notre-Dame de Lorette)的高雅的妓女。
25 小波兰区(Petite Pologne)是由一家小酒馆(guinguette)的名称而来，是流浪汉、乞丐和捡破烂的人常逗留的地方。
26 Antonin Proust,"Edouard Manet: Souvenirs," La Revue Blanche, XII, Feb.-May 1897. Also cited in Cachin, Manet, J'ai fait ce que j'ai vu, p. 42.
27 Duret, Manet and the French Impressionists, trans. E. Crawford Flitch(New York: 1937) p. 21.
28 "To be of one's own time," Nils Sandblad, Manet: Three Studies in Artistic Conception, 1954, p. 70.
29 Jacques Crepet,"The Red Haired Beggar Girl," Verve, Dec. 1939, pp. 50-51.
30 Jacques-Emile Blanche, Manet(Paris, 1924), cited in Seibert, Manet, p. 97.
31 Guy de Tervarent, Attrivutes et Symboles dans l'Art Profane 1450-1600(Geneva, 1958) p. 208.
32 Farwell, Nude, p. 163.
33 Seibert, Manet, p. 99.
34 Sarah Evans, Figures for a Melancholy Mind: Absorption and Allegory in Edouard Manet's Images of Berthe Morrisot and Victorine Meurent(Ontario: Trent University, 1998), pp. 132-133.
35 Cachin, Manet, J'ai fait ce que j'ai vu, p. 30.
36 Seibert, Manet, p. 100.
37 Elizabeth Anne McCauley, A.A.E. Disdiri and the Carte de Visite Portrait Photograph(New Haven, 1985) p.185-187.
38 Paul,"Le Fifre et Victorine MeurendV Revue de l'Art Ancien et Moderne, Vol. 51 January 1927, 35-36. cited in Seibert, Manet, p. 102.
39 Farwell, Nude, pp. 164-165.
40 Hanson, Manet and Modern Tradition, pp. 79-82.
41 Guide dans les Theatres, 1855, pp. 180-190. quoted in Seibert, Manet, p. 105.
42 Farwell, Nude, p. 99.
43 Zola, Nana, Chapter 1.
44 Farwell, Nude, pp. 64-65.
45 Cachin, Manet, J'ai fait ce que j'ai vu, p. 31.
46 Tabarant, p. 80. cited in Seibert, Manet, p. 121.
47 Paul Jamot,"The First Version of Manet's Dejeuner sur l'Herbe," Burlington Magazine, vol. 58, June 1931, 298-300, cited in Seibert, Manet, p. 123.
48 G. H. Hamilton, Manet and his Critics, p. 44.
49 Cahin，Manet 1983，p．165，在库存的手稿里这幅画记录为La Partie Carree．
50 Proust, 1897, 171.
51 Jamot, Gazette des Beaux Art, 1927, pp. 39-40.
52 Ernest Chesneau, L'Art et Artistes Modernes en France et Angleterre, Paris, 1864, cited in Farwell, Nude, p. 255.
53 "Farwell, Nude, p. 238.
54 Ibid, pp. 72, 73.
55 Seibert, Manet, p. 126.
56 普鲁斯特陈述其中女主角是马奈“最喜欢的模特儿」—莫涵。Daix，p．89．和Courthion，p．74．认为莫涵可能是取代了先前的模特儿。Mauner，p．23．认为苏珊是身体部分的模特儿。Tabarant，p．62．，认为苏珊是之前躯体部分的模特儿。Cahin，Manet 1983，pp．170．171．卡恩认为如普鲁斯特陈述，前后的两位女角色都是由莫涵担任女主角的。
57 George Mauner，“Manet，Baudelaire and the Recurrent Theme，”Perspectives in Literary Symbolism，ed Joseph Strelka，1968，p．253．不过赛伯特认为没有任何依据证名在十九世纪吉奥乔尼画中有阶级的意涵。
58 Wayne Anderson,"Manet and the Judgement of Paris," Art News, vol. 72, February 1973, p. 63-69.
59 Werner Hoffmann, The Earthly Paradise in the Nineteenth Century, trans. Brian Battershaw, New York, 1961, p. 172.
60 Farwell, Nude, pp. 135-141.
61 《普拉得勾的寓言》象征父亲的宽恕和儿子的悔改。
62 Seibert, Manet, p. 129.
63 Charles Hugo's l'Enfant Prpdogu of 1850, Louis-Eugene Lami's l'Orgie of 1857, Jean-Baptiste Rambaud's l'Enfant Prodigue and Pierre-Rodolphe-Charles Herbstoffer's Mauvaise Compagnie. Among Manet's friend, Alphonse Legros's l'Enfant Prodigue, and James Tissot's Prodigue. Seibert, Manet, p. 130-131.
64 Bertall,"Come on Mange en Paris" in Le Diable a Paris, 1846, p. 516, cited in Seibert, Manet, p. 129.
65 Delvau, Les Plaisirs de Pari."Cela est la fruit de leur travail, l'epargne realise prfes de cinq, dix, quinze ou vingt prodigues qui on jete avec gaiete, pour elles leur patrimonie par la fenetre...s'il est riche, tout est dit, il est accepte et prefere tant que ses prodigalites despasseront celles de ses rivaux," cited in Seibert, Manet, p. 131.
66 Seibert, Manet, p. 131.
67 Ibid, p. 132.
68 Albert Boime, Thomas Couture and the Eclectic Vision(New Haven and London, 1980), p. 169.
69 Seibert, Manet, p. 133.
70 Cahin, Manet 1983, p.165-166.
71 Hanson, Manet and the Modern Tradition, p. 95.
72 Mauner, Manet Peinture-Philosophe, pp. 28-29.
73 Seibert, Manet, p. 136.
74 Ibid, p. 139.
75 Anderson, Pairs, p. 69.
76 Ibid, p. 140.
77 Tabarant, 1947, p. 61.
78 Farwell, Nude, p. 107.
79 Cahin, Manet 1983, p. 169.
80 Seibert, Manet, pp. 140-141.
81 Jamot, Manet, p 37-38.
82 Seibert, Manet, p. 142.
83 Anderson, p.68.
84 Seibert, Manet, p142.
85 Jamot, p. 89.
86 Hubert Damisch, The Judgment of Paris. Trans. John Goodman(Chicago & London: University of Chicago Press, 1966), pp. 226-228.
87 Duret, p. 29.
88 T. J. Clark,"Preliminaries to a Possible Treament of'Olympis' in 1865," Art in Modern Culture: an Anthology of Critical Test, edit by Francis Frascina and Jonathan Harris(Londa: Phaidon Predd Limited, 1992), p. 105.
89 Harwell, Nude, pp. 205-206.
90 Reff,"The Meanng of Manet's Olympia," Gazette des Beaux-Arts, series 6, February 1964, p. 115-116.
91 Hamilton, Manet and his Critics, New Haven, 1954, p. 67.
92 "Amodern Parisienne, an Olympia Lying on a bed...," Duret, p. 31.
93 "... fixed the canaille allure of the fille in one of the eternal poems of the flesh," Geffroy, Artistique, p. 140.
94 Geffroy, Artistique, p. 140. Quand, lasse de songer, Olympia s'eveille, Le printemps entre au bras du doux messager noir, C'est l'esclave a la nuit amoureuse pareilie, Qui veut feter le jour, delicieux a voir, L'auguste, jeune fillle en qui la flamme veille.
95 Reff, Manet: Olympia, pp. 44-45.
96 Sand, p. 95-96.
97 Jamot, Gazette des Beaux-Arts, 1927, p. 43.
98 Mauner, Manet: Peintre-Philosophe, p. 89.
99 Alan Krell,"The Fantasy of Olympia," Connoisseur, vol. 195, August 1977, p. 297.
100 Anderson, p. 69; Hamilton, pp. 19, 75; Reff, Manet: Olympia, p. 111.
101 Shron Flescher,"More on a Name: Manet's'Olympia' and the Defiant Heroine in Mid-Nineteenth-Century France," Art Journal vol. 45, Spring 1985, p. 27.
102 Ibid, pp. 27, 30.
103 Sandblad, p. 96-97, Farwell, Nude, pp. 165-167.
104 Van Liere, E. N."Solutions and Dissolutions in 19th Century French Painting," Arts, 54, May, 1980,
105 Alexandre Dumas pere,"Filles, Lorettes et Courtesanesl," p. 385, cited in Sibert, Manet, p. 163.
106 Boime, p. 171.
107 Sibert, Manet, p. 1166.
108 Cesare Ripa, Iconologia, introduction Erna Mandowsky, Hildesheim and New York 1970. p. 70.
109 Ibid., pp. 66, 75, 150.
110 Sibert, Manet, p. 167.
111 Panofsky, Problems in Titian, Mostly Iconographic,(New York, 1969), pp. 112, 113, 116, 137.
112 Jules Claritie,"Deux Heures au Salon," l'Artiste, May 15, 1865, p.226.
113 Sibert, Manet, p. 168.
114 Ibid., p. 168.
115 T. Wright, The Romance of the shoe, London, 1922, p. 214, cited in Sibert, Manet, p. 168.
116 Donald Posner,"The Swing Women of Watteau and Fragonard," Art Bulletin, vol. LXIV, March 1892, pp. 83-87, cited in Sibert, Manet, p. 169.
117 Panofsky, Problems in Titian, p.98.
118 Zola, Nana, translation by George Holden, p. 123.
119 Farwell, Nude, p. 136.
120 Sibert, Manet, pp. 174-176.
121 Lipton, p. 49. Reff, pp. 92-93.
122 Farwell, Nude, p. 231. Reff, Olympia, p. 92-95.
123 Mauner, p. 97.
124 Claritie, Figaro, June 20, 1865, cited in Hamilton, p. 73, Hanson, p. 98.
125 Champfleury, Les Chats, pp. 22-23.
126 Clark, Ibid., pp. 96-97.
127 Nochlin, Realism, p. 60.
128 Griselda Pollock, Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History(London: Thames & Hudson, 1992), p. 33.
129 Nochlin, Ibid., p. 64.
130 鲁宾同时也指出在1864年的《耶稣墓旁的天使》中，死亡的耶稣也以静物的方式，被呈现在复杂安排的布料背景上。James H．Rubin，Manet’s Silence and the Poetics of Bouquets(London：Reaktion，1994)，pp．175-176．
131 Blanche, 1924, pp. 23, 24.
132 Jamot,"Le Fifre et Victorine Meurent," Revue de l'Art Ancien et Moderne. Vol. 51, January 1927, p. 34; Wheeler, p. 17; Jedlicka, p. 98, Jean-Paul Crespelle, Degas et son Monde, Paris, 1972, pp. 135-136; Goedorp, p. 7, cited in Sibert, Manet, p. 208.
133 Duret, 1937, pp. 52-53.
134 Hamilton, p. 115.
135 Haider, p. 117.
136 Ibid., pp. 115-116.
137 Mauner, Manet, p. 136.
138 Thore-Burger, cited in Manet, 1983, p. 256.
139 Sibert, Manet, p. 212.
141 Haider, pp. 118-119.
142 S. C. Burchell, Imperial Masquerade, New York, 1971, 37, cited in Sibert, Manet, p. 215.
143 Sibert, Manet, p. 216.
144 Ibid., p. 217.
145 Tabarant, p. 298.
146 Ibid., p. 217.
147 "truth, honesty and sincerity," Linda Nochlin, Realism, Baltimore, 1973, p. 36.
148 Daix, pp. 195, 202-202.
149 Tabarant, 1947, p. 221.
150 Sibert, Manet, pp. 221-224.
151 Ibid., p. 224.
152 Jean Sutherland Boggs, Portraits by Degas, Los Angeles, 1962, pp. 33, 106.
153 Tabarent, Manet et se oeuvres,(Paris: Gallimard, 1947), pp. 488-489.
154 Goedorp, Mar. 15-25, 7, cited in Sibert, op. cit., p. 239.
155 Manet 1983, pp. 340-342.
156 Boime, p. 475.
157 Daix, p. 253.
158 Stuckey, p. 167.
159 Moreau-Nelaton, II, pp. 11-12, cited in Sibert, op. cit., p. 240.
160 Duret, 1973, pp. 76-77.
161 Sibert, op. cit., p. 241.
162 Burty, 1872, p. 220.
163 Lipton, op. cit., p. 52, Sibert, op. cit., p. 241.
164 Ripa, Hertel edition, no. 186.
165 Sibert, op. cit., pp. 244-245.
166 Harry Rand, Manet's Contemplation at the Gare Saint-Lazare(Berkeley: University of California Press, 1987), p. 79.
167 Sarah Evans, Figures for a Melancholy Mind: Absorption and Allegory in Edouard Manet's Images of Berthe Morrisot and Victorine Meurent(Ontario: Trent University, 1998), p. 74.
168 Alison McNeil Kettering,"Ter Borch's Ladies in Satin," Art History 16.1(March 1993), pp. 96-97.
169 Tabarant, 1947, p 223.
170 Sibert, op. cit., p. 245.
171 Kathleen Adler，Manet(Oxford：Phaidon Press Limited，1986)，pp．60-62．《圣主日》画中女主角正在捡树枝放在她父母的肖像前，一旁的圣母玛莉像望着在女主角旁边的床，女主角的脚边有一只猫。
172 Ibid., pp. 246-248.
173 Cahin, Manet,1983, pp. 350, 352.
174 Duret, op. cit., p. 109.
175 James Jackson Jarves, Parisian Sights and French Principles, New York, 1852, p. 178, cited in Sibert, op. cit., pp. 247-248.
176 Cahin, op. cit., p. 350.
177 Sibert, op. cit., p. 251.
178 Linda Nochlin,"A Thoroughly Modern Masked Ball," Art in America, November, 1983, pp. 183-190.
179 Ibid., p. 190.
180 Ibid., pp.193, 195.
181 Ibid., p.189.
182 Sibert, op. cit., p. 253.
183 Ibid., p.254.
185 Eunice Lipton, Alas Olympia(Ithaca and London: Cornell University Press, 1992), p. 104-105.
187 Tabarant, 1947, p. 272.
188 Lipton, op. cit., p. 164.
189 Goedorp, p. 7.
190 Tabarant, op. cit., pp. 282-288.
191 Ibid., p. 346.
192 Lipton, op. cit., pp. 51-53.
193 Sibert, op. cit., p. 300.
194 Ibid., p. 299.
195 Ibid., p. 300.
196 "De la Bedolliere listed the careers of one hundred old lorettes: seventeen died prematurely, eighteen inscribed as prostitutes, eighteen employed by inscribed prostitutes or houses of prostitution as servants, six go-betweens or pimps, eight companions or chaperones to debutante lorettes, nine wardrobe sellers, three spies or skimmers, two renters of chairs, six housekeepers, four emigrated, three saved money and moved, two advantageous marriages to foreigners, two French marriages, one fortune teller, five insane and sent to Salpetriere, five suicides from ennui or poverty and one suicide for love," Ibid., pp. 300-301.
197 Tabarant, op. cit., p. 489.
198 Sibert, op. cit., pp. 201-202.
199 Ibid., p. 302.
200 Ibid., pp. 305-306.
201 Ibid., p. 308.
202 T. J. Clark, The Paining of Modern Li fe: Paris in the Art of Manet and his Followers, New York, 1985, p. 265.
203 Sibert, op. cit., p. 310.
204 Gerstle Mack, Toulouse-Lautrec, p. 269.
205 Lipton, op. cit., p. 154.
206 Ibid., pp. 165-166.
207 Cahin, op. cit., pp. 173-183.
208 1997年在现代美术馆展出舍曼的完整的69张《无题电影剧照》时，舍曼的安排是所有横向的照片在一面墙上，所有直向的在另一面墙上。尽管其中有些可能情节相关的照片，如17到20号、21到23号，也因此被分开摆放。Howard Halle，“Everyone Knows It’s Cindy，”Time Out New York(July 24-31 1997)，p．42．
209 "We're coming together because of the weather."Cited in Sarah Evans, Situating Cindy Sherman: Artistic Communities, Critical Agendas and Cutural Allegiances, 1975-1984(Berkely: University of California Berkeley, 2004), p. 1.
210 Ibid., p. 2.
211 Ibid., p. 4.
212 Consider the Alternatives: Twenty Years of Contemporary Art at Hallwalls(Buffalo: Hallwalls, 1996), p. 190.
213 Time Magazine's review of the 1968 festival, as cited in Krane, Wayward Muse, p. 71.
214 Evans, op. cit., p. 9.
215 Baffalo State Record(October 7, 1975), cited in Evans, op. cit., pp. 12-15.
216 “激浪派」(Fluxus)或称“流动派」，是六十年代初在德国出现了一个影响很大的艺术团体，著 名代表人物是观念艺术家波依斯(Josef Beuys)和福斯太尔(Wolf Vostell)等人，组织了一系列包含诗歌、音乐、艺术于一体的表演，向现代艺术自律性观念提出挑战和质疑。
217 “廊墙」档案里的传单。Cited in Sarah Evans，op．cit．，p．15．
218 Rick Little,"Apple's Art Sampled," Bufflalo State Record(November 14, 1975), p. 9, cited in Evans, op. cit., p.15.
219 Ibid., p. 16.
220 "My heroes were those artists in the generation ahead of me, ranging from Vito Acconco to Sol Le Witt, from Eva Hesse to Robert Smithson. They were not only making art but writing about it; they were artist-critics. All of a sudden I understood that you had to be smart to be an artist. So I began to read bits and pieces. Minimalism became really important to me. I was fascinated by the work of Judd and Serra. I took out a book from library on Judd and said to myself, this is art? These cubes? The stuff looked so easy to make; why was it important? You get an education thinking about things like that. Cited in Glueck,"The Very Timely Art of Robert Longo," New York Times(March 10, 1985), H24.
221 Evans, op. cit., p. 17.
222 "It was not until met Longo and Clough that I learned what was going on in the art world ip to that moment. I hadn't learned anything about this in school and never knew about it from growing up on long island." Sherman in Jeanne Siegel,"Cindy Sherman." Art Talk: The Early 80s(New York: Da Capo, 1988, p. 270.
223 Evans, op. cit., p. 17.
224 “Formalized education is falling apart...It isn’t receptive to new ideas．and it tends to be tremendously eclectic．Tenure is the enemy of vitality in any sphere，art or what ever...I would do this by way of magazines and going to artist’studios，I guess try to establish some kind of relationships with the artists I admired，whether it’s a mentor kind of thing，or friendship or what ever．The fact that was emplying these people whose work I was reading about in Art Forum，that was a root to what seemed to me to be the front lines of culture．”Clough， cited in Consider the Alternatives，p．18．“水牛城学院」(State University College of Buffalo)为了和“水牛城分校」(State University of New York at Buffalo)区别，当时的定位是培养学生有就业才能，艺术系以艺术教育学位为主。
225 Cathcart cited in Consider the Alternatives, p. 33.
226 "Whenever someone asks me where I studied art, I always say it was at Hallwalls." Sherman, speech give on October 25 1999, Hallwall's receipt of a New York State Governor's Arts Award, cited in Evans, op. cit., p. 19.
227 Fox, Robert Longo, pp. 171-172.
228 “萝丝．瑟拉薇」(Rrose Selavy)是达达的主要艺术家杜象与曼瑞合作拍摄的系列，用意于颠覆传统的男性气概。
229 "The Making of Untitied," The Complete Untitled Film Stills(New York: Whitney, 2003), p. 11.
230 Larry Lundy, Consider the Alternatives, p. 33.
231 达达艺术其创作领域涉及绘画、拼贴艺术、装簧艺术、观念艺术、物体艺术，乃至利用“现成物」的综合媒材绘画。杜象活跃于达达主义时期，并将达达主义带入美国而形成新达达主义。新达达主义继承达达的创意精神，主要的艺术家有琼斯(Jasper Johns)、罗森伯格(Robert Rauschenberg)等人。
232 Lundy, op.cit., p. 33.
233 Ibid., p. 25.
234 Cited in Anthony Bannon,"1974-1978: The Early Yers," Consider the Alternatives, pp. 23-24.
235 “酷」最初来自于黑人文化，黑人将他们反叛的心态以一种嘲讽的态度来平复他们的愤怒。“酷」成为一种无权者的一种复仇，是一种白种奴隶主人所无法拥有和了解的态度。Lewis MacAdams，The Birth of the Cool：Beat，Bebop and the American Avant-garde(New York：Free Press，2001)，p．20．
236 Evans, op. cit., p. 28.
237 Evans, op. cit., p. 29.
238 George Melly, Revolt Into Style(London: Allen Lane, 1970), p. 18.
239 Anthony Bannon,"Shart Puts Himself Into Art, Literally," BuffaloEvening News(March 17 1975), cited in Evans, op. cit., p. 34.
240 Conrad, Consider the Alternatives, p. 188-189.
241 Evans, op. cit., p. 32.
242 Avalanche 6(Fall 1972)
243 Avalanche 4(Spring 1972)
244 一家餐厅的广告，内容如下：“4，081磅的鸡投降了…1，480磅羊迷途了，4，529磅牛被欺负了…3082个免费晚餐…百分之84的工作人员是艺术家。Avalanche 4(Spring 1972)
245 Evans, op. cit., p. 40.
246 这张海报在1977年立夫(Christopher Reeve)所主演的《超人》(Superman)电影之前，所以来源应该是50年代里福斯(George Reeves)由漫画改编的超人系列电视剧集。
247 Nicholas Roukes, Humor in Art: A Celebration of Visual Wit(Worcester: Davis, 1997), p. 4.
248 Ibid., p. 4.
249 Benjamin Buchloh,"Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions," October 55(Winter 1990), pp. 105-143.
250 Lucy Lippard,"Escape Attempts," Six Years: The Dematerialization of the Art Object(Berkeley: University of California Press, 1997), pp. vii-xxii.
251 Anne Wagner,"Performance, Video and the Rhetoric of Presence," October 91(Winter 2000), pp. 59-80.
252 Paul Wood, Conceptual Art(London: Tate Gallery, 2000), p. 37.
253 Evans, op. cit. p. 52.
254 沃霍尔所采用的姿态是来自于一种对世界的现状真诚的关怀。…他的态度因为太酷而不可能为真，所有骨子里是嬉皮的人都能察觉出来，他其实是在对我们恶作剧，他的所有一切都是在恶作剧。…但令人惊讶的是，这一切的竟是来自于都出自于心底的道德意识。Alan Solomon，Andy Warhol(Boston：ICA，1966)．
255 Warhol's Sleep, Stan Brakhage's Dog Star Man, in the writing of Marshall McLuhan and Terry Southern, in the compositions of John Cage and in the interview styles of The Beatles and Bob Dylan. Jacob Brackman,"The Put-On." The New Yorker(June 24, 1967), p. 34.
256 Ibid., pp. 34-35.
257 Ibid., p. 35.
258 Ibid., pp. 35, 36, 49, 63.
259 Conrad, Consider the Alternatives, pp. 188-189.
260 “她(舍曼)会戴着假发和假睫毛装扮成露西尔·波尔(Lucille Ball)(扮演露西的演员)，然后散漫的走进屋里，这时满屋子的朋友都在看《星期六夜晚现场》。」(Saturday Night Live)。JO Ann Lewis，“How She Learned She Ought to Be in Pictures，”Washington Post(April 2 1995)，G4．
261 在水牛城的，舍曼在各种晚上聚会场合，以装扮为露西尔·波尔而出名。Peter Schjeldahl，“She is a Camera，”p．17．她有时打扮成露西尔·波尔，有时打扮成孕妇，但她从未特别的配合她的装扮去表演，她的表现就和平时的辛迪一样，只是在玩装扮游戏。Calvin Tomkins，“Her Secret Identites，”p．77
262 Schjeldahl, op. cit., p. 17.
263 Marzorati, p. 84.
264 Evans, op. cit., p. 63.
265 Roselee Goldberg,"Post-TV Art." Portfolio(July-August 1982), pp. 76-79.
266 舍曼的是家中五个兄弟姊妹们中年纪最小的，他们其中之一在舍曼青少年时期自杀了，舍曼总是自己一个人玩耍。舍曼说道：“我是那种喜欢一边看电视一边做其它事的人，像是画画，我可以把一件东西画得极其相似。J Schjeldahl，“She is a Camera，”p．17．隆格可能由于他有失读症，所以对于视觉更敏锐，他可能没法读出钟的指针或是绑一个结，但是他可以把一个斯巴达斗士或是橄榄球员画得维妙维肖。Lynn Hischberg，cited in Consider the Alternatives．p．231．
267 Evans, op. cit., pp. 63-64.
268 Thomas Lawson,"Switching Channels," Flash Art(March-April 1981), p. 21.
269 Martha Wilson cited in Alexandra Anderson-Spivvy,"Who Is that Girl, Anyway?" Esquire(February 1994), p. 90.
270 Paul Taylor,"Face to Face with Cindy Sherman," p. 83.
271 Siegel, op. cit., p. 271.
272 Tomkins,"Her Secret Identities," p. 76.
273 舍曼回忆到：“我小时候以为艺术家就是法院插画家或是人行道上的讽刺漫画家。」cited in Kimmelman，“Portraitist in the Halls of Her Artistic Ancestors，”New York Times(May 19 1995)，C7．
274 Thom Thompson,"A Conversation with Cindy Sherman," Cindy Sherman(Stony Brook: Fine Arts Center Art Gallery/SUNY, 1983).
275 Betsy Sussler,"An Interview with Cindy Sherman." Bomb(Spring/Summer 1985), p. 32.
276 Hryvniak in Consider the Alternatives, p. 32.
277 Sherman is cited in Tomkins,"Her Secret Identities,", p. 77.
278 “辛帝·舍曼像是一个引起轰动的女演员，也因此而得到赞赏。…她的各种不同装扮的大头照，就像是有千张面孔的女人。」Nancy Tobin willing，“5 Young Women Use Different Modes，”Buffalo Courier-Express(August 15 1975)．
279 芭拉(Theda Bara)在1910年代中期演出许多无声电影，是当时受欢迎的女演员，也是电影文化的性象征。她其中一部片的角色为一吸血鬼(vampire)，简称为“凡普」(vamp)，后来“凡普」就成为具有侵略性女性或荡妇的代名词。
280 Sherman cited in Thompson, op. cit.
281 Evans, op. cit., p. 74.
282 Ibid., p. 74.
283 Marzorati, pp. 84-85.
284 Sherman cited in Marzorati，p．84-85．舍曼提到化妆的过程就如画画般，如果和安廷(Eleanor Antin)在1971年的作品相比较，就很容易理解。安廷的《具像的绘画》(Representational Painting)是一个黑白的录像作品，拍摄了35分钟安廷从她的脸开始涂上保湿乳液、粉底、然后涂上口红、腮红、眼影等化妆过程，作品所表现的是对女性花了许多时间劳力在一种无谓的脸部绘画上，与舍曼藉由化妆来转变成另一个角色是完全不相同的。
285 Sherman cited in 5,000 Artists, p. 84.
286 The sixteen characters are male Narrator, the Male Lover, the Male Ideal, the Male Friend, the Female Friend, the Female Ideal, the Male Seducer/Seducee, the Female Seducer/Seducee, the Frivolous Young Woman, the Broken Woman, the Actual Main Character, the Main Character as Others See Her, Vanity, Madness, Agony and Desire. Nancy Tobin Willig,"Type Styles and Photographic Manipulation," Art News(October 1976), p. 108.
287 Evans, op. cit., pp. 87-88.
288 当时报纸的评论是，舍曼和以往一样，运用她的巧智，她在墙上布置了她的短剧，主角是一些人偶照片，照片依剧情的顺序挂在墙上，读者沿着这些一英尺高的作品来了解剧情发展。在几个月之前，她才在“廊墙」展出过一个相同形式但更复杂的作品《自己的一出戏》，那个作品需要有文字来描述它的剧情和角色。这个新的短剧，更向前迈了一步，这是个关于爱情、背叛、死亡和充满讽刺的肥皂剧，过份夸张的情感表达就像十九世纪的舞台剧。共有13个角色在这出戏里，从疑似是谋杀式自杀的性感金发女演员、她的两个小孩、女佣及男管家到侦探警员的解迷。整个作品都是艺术家个人单刀完成的，她设计了制作、服装、化妆，且所有的照片都是她用20呎长的快门线自己拍摄的。」Nancy Tobin Willig，“Hallwalls Goes to New York．”Baffalo Courier-Express(November 21 1976)．
289 舍曼回忆到《谋杀之谜(谁做的?)》的剧情：“在一开始，所有的角色都出现在一场葬礼，然后才回溯到从前，这剧情很老套，是30年代的女演员爱上导演的故事。她是个过气的演员，想要重整旗鼓找回舞台，她是有点年纪的妇女，努力想要得到年轻女孩的角色。之后她上了媒体，也进了监牢，可能是由于导演妻子的关系。在她死后，侦探试图去找出事情的发生经过，我不太记得最后的结局了。…整个作品，从入口一进门开始，过程就像在看漫画书或意大利短篇小说一样，整个故事围绕着房间的墙，没有任何文字说明。」Sherman cited in 5，000 Artists，p．84．
290 "I had grown tired of doing these cutesy doll things and cutting them out. It was so mcuh work and too much like playing with dolls." Sherman cited in Siegel, p. 271.
291 "I was tired of cutting out. It was so labor intensive and the idea of paper dolls seemed trite and very girlish." Sherman cited in 5,000 Artists, p. 85.
292 "Murder Mystery(Whodunit?) is a mini-movie, hung up on the walll...I figured out each scene in terms of the characters and how big they would be. If one character was walking away, I'd have a notation for the scale. Then I would figure out the scenes each character was in. On a simplistic level, it was what you would do if you were making a real movie. I figured out the actress' scenes, shot all of them, then referred to a sheet, which tell me that this is the scene where she's doing this, take the picture. That would be on one roll of film, and I would print it up according to the same notation. So, in scene 11A she has to be this size, following my storyboard and putting it all together." Ibid., p 84.
293 沃芙(Naomi Wolf)对于芭比娃娃也有相同的描述：“当我们帮芭比娃娃穿好衣服以后，似乎没有什么可以继续了…芭比的生活里，假设各种场合是为了要能装扮她的理由，她的故事没有什么发展性，这意味着，我们平时兴奋的打扮自己，然后在回到没装扮的模样，而我们的故事也如同芭比一样，没有任何发展。」Naomi Wolf，Promiscuties(New York：Random House，1997)，pp．15-16．
294 "I have[sic] been working with photography for about two years, at which point I decided to use the camera as a means for exploring my experiences as a woman. My first attempts were with making up my face in order to become different characters which involved a total transformation of my personality. This grew into an involvement with transforming my whole body so that I could totally act out a given character. The process of cutting out the figures not only helped in forcing them to interact with each other but actually came from a fascination with paper dolls. After a period of time when I was experimenting with several(about 40-70) dolls of one character I began combining di f ferent character dolls to form vignettes of stopped action. Subsequently, this brought me to my present state of making chyaracter with a multiplicity of purpose—action stopped and interaction. I would say that my main preoccupation is with this process of dressing up using the costumes and make-up and wigs to play out the roles which have long since amused and fascinated me. I see my work as a form of entertainment." Sherman's statement on file in the archive of the Burchfield-Penney Art Center at Buffalo State cited in Evans, p. 181.
295 "I think ray work is informed by feminism, and there's definitely an anger that comes out, but it couldbe anger that just comes out of me, not out of the woman in me. It's not like I'm out to save the world." Sherman cited in Phoebe Hoban,"Cindy Sherman: Moving Pictures," New York(April 6 1998), p. 178.
296 第一个将《无题电影剧照》归类为后现代主义艺术的是欧文斯(Craig Owens)的论文。“The Allegorical Impoulse：Toward a Theory of Postmodernism，”October(Spring and Summer，1980)．
297 《无题电影剧照》在1980年之前在美国展览记录(American exhibition record)里展出记载:1977 December 3-January 6: WHERENWHEN, Hallwalls, Buffalo 1978 July 7-August 20: Floating Museum, Global Space Invasion(Part I), Museum of Modern Art, San Francsico 1978 September 15-October 7: Bufallo Chicago Exchango, N.A.M.E. Gallery, Chicago 1978 September 23-October 28: Four Artists, Artists Space, New York 1979 March 2-29: solo show concurrent with Kevin Noble, Hallwalls, Buffalo 1979 date unknown: Vieus Amsterdam: New York Hansen Gallery, New York 1979 date and group-show title unknown: Roanoke University Gallery, Roanoke, Virginia 1979 November 5-15: Hallwalls: Five Years, Upton Gallery, State University College at Buffalo 1979 December 11-January 19 1980: Re: Figuration, Max Protetch Gallery, New York 1980 Hallwalls: Five Years: February 16-March 8, A Space, Toronto; June 19 July 18, New Museum, New York 1980 February 2-March 23: Cindy Sherman: Photographs, Contemporary Arts Museum, Houston 1980 March 18-29, Cindy Sherman, The Kitchen, New York 1980 July 7-25 & September 2-13: Likely Stories, Castellli Graphics, New Yokr 1980 July 12-August 9: Ten Photographers, Texas Gallery Houston
298 1983年在SUNY at Stony Brook的Fine Art Center、Saint Louise Art Museum及法国Dijon的 Musee d'Art et d'Institute de Saint Etienne展出，1984年由Akron Art Museum策划了一个舍曼展在Philadelphia、Pittsburgh、Des Moines及Baltimore等市展出。1982年Stedelijk Museum策划舍曼的欧洲巡回展。1984年舍曼的第一本重要专著Cindy Sherman发行
299 见5,000 Artists, p. 326.
300 Mary Haus,"Robert Longo Talks to Mary Haus," Art forum(March 2003), p. 238.
301 见"Helene Winer Interviewed by Matt Mullican, Cindy Sherman, and Valerie Smith," 5,000 Artists, p. 59.
302 "The Ups and Downs of Art Stardom: An Interview with Robert Longo," New Art Examiner(December 1984), p. 42.
303 瑞凌提到：“这次展览，辛迪的《电影剧照》得到最大的响应，这是她第一次展览它们(在纽约市)…舍曼有一本笔记本里全是8×10的照片，她选了其中八张放大成30×40。」Reiring is cited in 5，000 Artist，p．98．
304 Sherman cited in 5,000 Artist, p. 85.
305 "Janelle Reiring asked[the four artists] to participate in a show designed to address the issue of how art is presented and, as a result, how it is seen and understood....Instead of examing the packing of the art object, Sherman dealt with the packing of the sales and support staff, infusing her analysis with a blend of nostalgia and fantasy. She was present in the gallery every day, dressed up in Fifties clothes, complete with wigs and accessories, so as to look like any of those starlets who fill the offices and shops of old movies. She also makes photographic pieces in which her imaginary characters act out obscure melodramas in personal as well as the public implications of the conventional structures of presentation and representation." Thomas Lawson,"Four Artists," Real Life(March 1979), p. 2.
306 "One of the artists seems embarrassingly derivative of the early work of another," April Kingsley,"Art Goes Underground." Village Voice(October 16 1978), p. 122.
307 派伯展出的作品是露出着恐怖表情的黑人男性，旁边有一卷重复播放的独白。
308 "Sherman played her role in such a normal way that she blurred the lines between her art and her job. It wasn't quite performance," Winer, 5,000 Artists, p. 59.
309 "It was very much like one of her film stills, but not so exaggerated,[...] She was making a statement, not a formal artwork. It was very funny and very subtle," Phoebe Hoban,"Sherman's March," vogue(February 1997), p. 243.
310 "At a party,[Sherman] colored her hair purple. I tried to be real cool and pretend not to notice, but I lost it and busted out laughing. That annoyed her and she walked away. That night I learned hip people aren't shocked at anything."Fix is cited in Consider the Alternatives, p. 37.
311 "What was weird and hilarious about her then, is that she dressed up in different ways but didn't change her attitude. She was always friendly and not at all self-conscious while she'd have on, say, a 2-foot-high beehive wig. She was theartical and natural, ironic and sincere at the same time, which seemed completely original. Every generation has to reinvent'cool' for itself. Seeing Cindy at Artists Space, I felf she was it for our generation." Marzorati is cited in Schjeldahl,"She is a Camera," pp. 17-18.
312 "Once I statrted[dressing in costume] I realized that people were entertained by it and also very confused. I liked that..." Sherman cited in Els Barents,"Introduciton," Cindy Sherman(Amsterdam: Stedelijk Museum, 1982), p. 13.
313 "It was just right for what we wanted to have happen at Artists Space because Cindy had a very easy relationship with the artists who came in and would sit at the front dest and chat." Winer cited in 5,000 Artists, p. 55.
314 "I was being interviewed for a museum job... and Cindy showed up in the now-famous secretary suit. It made it difficult to be serious—I didn't even try to explain our odd receptionist." Winer is cited in"Helene Winer Interviewed by Matt Mullican, Cindy Sherman and Valerie Smith," 5,000 Artists, p.59.
315 Ibid., p. 59.
316 Cover(Spring/Summer 1980), p. 58. Flash Art,(January-February 1980), p. 94. Real Life(October, 1979), p. 14.
317 "For years[Sherman's] favorite photographic subject has benn herself...takes a good hard look to se that it is indeed the same Cindy Sherman in each of her works as she not only explores her multiple self-image but exposes a variety of female types, from classy sophisticate to brassy boozer...Each shot freezes a moment of tension of quiet desperation. We're left hanging, wondering what has happened, what is about to happen, as a woman cringes fearfully in the corner, another languishes seductively across a bed or gazes wistfully our about them, yet they have become entirely too vulnerable. Set in very particularized enviornments, they are always alone—lost in their fantasies or caught in some act and wating to pay the consequences. Sherman tells but a fraction of the story. You fill in the rest." Brenda Preisner,"Photos Focus on Artists's Worlds," Buffalo Evening News(March 13 1979), p. III-41.
318 "If you're a photographer and your subject is what they used to call'Foreign Movie,' you can hardly miss stirring up a little interest...especially, if you mimic sexy, tormented actresses with chronicaly hitched-up skirts...a[male] viewer happens to enjoy seeing these alluring women is probably open to a charge of being a sexist." Richard Huntington,"2 New Exhibits at Hallwalls," Buffalo Courier-Express(March 16 1979), p. L-3.
319 "How the viewer gets the message si the puzzle which Ms. Sherman has left, and it is difficult of resolution. It sure isn't in the photos. They're as straght as can be. No parody. No bathos. No added formal structure. Nothing athat gives us a clue that these aren't really film stills. In fact, the most interesting thing about the photographs(for the non-sexist at least) is that they put themselves out of business. Kind of a grand neutrality. The more they succeed in matching the original, the less they become art. And, reducing art to a lingering echo is on the minds of a lot of artists today. Maybe Ms. Sherman wants to disappear. Maybe she wants to get bottled up by her—and our—fantasies. She's letting us watch. This is valid and intersting. But how we see this idea—how clear it is as a point of the work—is in quesiton. One thing the conceptual artist, the idea artist—and Ms. Sherman may be one—doesn't want to do is put parts together to make a nice-looking total picture like the regular everyday artist who breaks his back to balance a red and blue. This will just mess up the idea and if the idea isn't clear and fully dressed. Moods, sex and nostalgia all get in the way. Sentimentality—and Ms. Sherman does deal in this[--] comes off no better in idea pieces than it does in flower painting—probably worse." Ibid., p. L-3.
320 Later named Untitled Film Stills 21, 35, 4, 43, 7, 15, 30 in Sun & Moon(Fall 1979). Untitled Film Stills34, 13, 15, 7, 14, 2 in Paris Review(issue 82 1981).
321 "Cindy Sherman's pictures are intricately contirved photographs of herself in various feminie guises, derived mainly from Amreican and European films of the 1960s. She foregoes any significant impulse toward autobiographical fantasy, preferring to represent herslf posed as what she describes as role models. Her pictures function as a genre related to emblems, representing not specific personalities but character types in broadly suggestive situations. The recent uhntitled photographs included hre singify without declaring, relying on visual cues to imply social and psychological content." Howard Fox,"Recent Pictures," Sun & Moon(Fall 1979), p. 129.
322 "I was thinking general stereotypes. I would never have too much of a preconceived idea of what I wanted. A lot of it was intuitive. I was just drawing from my most general ideas of what I remembered women to be like when I was growing up. These were my role models. I was really looking for the most artificial looking kined of women. Women who had cinched-in waists and pointed bras, lots of make-up, stiff hair, high heels, and things like that. To me that's what I hated about growing up. When I was an adolescent, those kinds of role models were awful to me." Sherman, in Thompson.
323 "One of Sherman's junior highschool teachers was with an endless array of carefully coordinated outfits...She inspired the paper doll and wardrobe items which Sherman made as a means of coordinating her own ensembles." Hoben,"Sherman's March", p. 243.
324 Sherman, in Cindy Sherman: Nobody's Here But Me.
325 "Film stills were a way to deal with ray own frustration about growing up in the 50s... and then going to college when nobody was supposed to wear makeup or bras or do something unnatural to their hair or bodies. I was kind of liberating, but at the same time, I kind of loved makeup and all those artificial things I emulated as a child." Sherman is cited in Lewis Beale,"Portraits of An Artist," Sew York Daily News(June 29 1997).
326 发尾向外卷翘的直径如易拉罐般。
327 "Even though I've never actively thought of my work as feminist or as a political statement, certainly everything in it was drawn from my observations as a woman in this culture. And a part of that is a love-hate thing—being infatuated with make-up and glamour and detesting it at the same time. It comes from trying to look like a proper young lady or look sexy and beautiful as you can,ake yourself, and also feeling like a prisoner of the structure... That's certainly something that I don't think men would relate to." Sherman is cited in Fuku, p. 80.
328 拉图雷射转印纸是在计算机普及之前，设计师可将许多已经绘制好的图案或数字直接转印剑纸张上。
329 舍曼拍这系列《乘巴士的人》作品是为了参加Winston Network每年度所举办的展览《相片—巴士》(Photo-Bus)，Early Work of Cindy Sherman(New York：Glenn Horowitz Bookseller，2000)．
330 Linda Cathcart,"The Western Image in New Work: Longo, Sherman, Zwack," Arts Quarterly(Fall 1979), p. 8.
331 "I tried a few, like Indian type[sic] of women and they really looked kind of ridiculous," Sherman in Cindy Sherman: An Interview.
332 "the stills are difficult to print because the accidents she intially had in the darkroom must be emulated with dodging and burning in." Sherman in"The Making of Untitiled," The Complete Uhtitled Film Stills, p. 10.
333 当时的批注相对于后来的编号如下:Untitled Film Stills(Black Bra), 1977[6] Untitled Film Stills(Lincoln Tower Girl—exiting door), 1978[20] Untitled Film Stills(Lincoln Tower Girl—close-up), 1978[17] Untitled Film Stills(Lincoln Tower Girl—street walker), 1978[18] Untitled Film Stills(Lincoln Tower Girl—Mdeium portrait), 1978[19] Unfilled Film Stills(City Girl—close-up), 1978[21] Unfitled Film Stills(City Girl—decending stairs), 1978[22] Untitled Film Stills(City Girl—meidum view), 1978[23] Untitled Film Stills(Pier Girl—close-up), 1978[24] Untitled Film Stills(Pier Girl—view looking from above, 1978[25] Untitled Film Stills(Window Gazer), 1978[15] Untitled Film Stills(Librarian), 1978[13] Unfitled Film Stills(Cigarette Lit), 1979[32] Untitled Film Stills(Emerging Swimmer), 1979[45 or 46] Untitled Film Stills(Phillips Living Room), 1979[50] Untitled Film Stills(Mirrored Bar—Phillips), 1979[49] Untitled Film Stills(Monument Valley Gril), 1979[43] Untitled Film Stills(Mexican Church), 1979[42] Untitled Film Stills(Flagstaff Train Station), 1979[44] Untitled Film Stills(Hitchhiker), 1979[48]
334 如各种选美的命名会在其后加上Girl，如1957-1976年间Breck Girl是发型模特儿比赛。所以冠上Girl会使人联想到一种典型的模范或是模特儿。
335 "Cindy Sherman's work deals exclusively with self-portraiture. Her large-scale black-and-white photographs tend to be made in groups—inspired by a place or specific seting." Linda Cathcart, Cindy Sherman.
336 "Derived from movie stills, photographs imply narrative sequences which are never completed. In almost all her work she is seen alone in the setting. Always the environment can be recognized. It is in the West, at the pool, in the kitchen—and is evocative and mysterious settings. What concerns us most is our own position in relationship to the scene and the fighre in the photographs invite psychological interpretations and set off an imaginative process. Out first responses are not made directly to the formal aspects of her work but rather are directed towards the meanings of her images. These images are at once stereotypical and generalized and yet also specified by Sherman's use of herself rather than an anonymous model. Sherman's image provoke associative thinking and encourage speculation about place and role." Ibid.
337 "Once viewer realizes that the artist is the character, the situation becomes more complex. By not using models, Sherman connects us directly to her personal fantasies. We are presented with scenes that have traditional associations and we are surprised by Sherman's appearance in these contexts." Ibid.
338 "Essentially the use of self-portraiture opens questions of autobiography. Her figure which is seen stopped on the street or beside a pier, Leaning in a doorway, sitting on a bench or a windowsill, tells us about Sherman and her feel ings about her place as well as her rold....We are not confused about her surroundings—they are trite, cliched and easily knowalbe. Rather we bocome ovservers as Sherman progresses through her day as housewife, hooker, clown, lover, bathing beauty and artist. She is tired, bored, angry, wary and sad. Through her gestures and costumes, Sherman translates her feelings about how we should all feel about ourselves and our situations. Her photographs are recepticals[sic] for a strongly felt and rather mysteriously vague sense of person and place." Ibid.
339 Douglas Crimp,"Cindy Sherman: Making Pictures for the Camera," Young Americans(Oberlin: Allen Memorial Art College, 1981), p. 87.
340 "The conventions inherent to the photographic medium will determine the ways in which the world can be either seen or represented...It is not the properties of the photograph but the properties of the world that are understood to be conventionalized, and pictured as conventionalized through the instrumentality of the photograph." Ibid., p. 87.
341 "Rober Frank was a spector observing'Americans representing themselves to the camera, Americans making of themselves cultureal objects,...Sherman is the actor who literalizes this representing activity by enacting it for the camera itself." Ibid., p. 87.
342 "Sherman's photographs are not, strictly speaking, self-portraits. Even though it is Sherman who poses for them they disclose nothing about Sherman or her feelings. We cannot learn so much as the natural color of Sherman's hair by looking at these photographs. Instead, they show the ways that we represent ourselves to the world through the asumption of those roles that the world makes available to us. As such, her photographs reverse the terms of art and autobiography. They use art not to reveal the artist's true self, but to show the self as an imginary construct. There is no real or true Cindy Sherman in these photographs; there are only the various guises she assumes. And she does not create these guises; she simply chooses them in the way that any of us do. The pose of authorship is dispensed with in her photographs not only though the mechanical means of producing the image, but through the effacement of any continuous, essential persona or even recognizable visage in the scene depicted." Ibid., p. 88.
343 "The perfection with which certain stereotypes were captured in the film stills made it possible for viewers to stand outside Sherman's enterprise, to view it as parody." Ibid., p. 90.
344 "And this is the stength of Sherman's work. She does not allow us the pretense that we are immune from the culture in which we are participants, just as she does not allow herself the pretense of authorship. She knows that in order to have anything to say about any situation, one must recognize the extent to which one is already implicated in that situation, has not escaped its control. For the same reason, Sherman has chosen to make photographs in which she herself is always the subject in order that she might point to the ascendancy of photography and autobiography in current art practice." Ibid., p. 91.
345 "...I acctually felt that some of Sherman's photographs could have been me. Others seemed to be of people I've known. The emotional content is of Sherman herself, who is the right actress and artist to pull it off with subtlety.Movies are an appropriate symbol as Sherman is dealing with our personal fantasies which have been formed, to varying degrees, through Hollywood and television. Like a number of other woman artists, Carolee Schneeman being a prominent example, Sherman is her own subject and, in eash picture, we witness her trying out different female roles. The emotional content of the picture comes from the real person, who we occasionally glimpse under the societal veneer." Lynn Zelevansky,"Cindy Sherman," Flash Art(March-April 1981), p. 43."She is artist and model, actress and director. She tells us that the subject and maker are one and the same and thus her dream is fulfilled, the possession of it entirely her own...we see through to her....The image becomes and isolated precise thought." Michael R. Klein,"Cindy Sherman," Arts(March 1981), p. 5.
346 "The artists' interest in the use of regenerated thematic imagery which causes them to use western images....All three use sequential, cliched, romanticzed, serialized imagery found in our daily life for their work's impact; a life where we learn about things through newspapers, magazines, radio, television, and the movies. Each artist's work is connected bythe use of'typical' or'cliched' interpretations of the West..." Cathcart, op. cit., p. 8.
347 "...we've been faced with the return of narrative art." Thomas Lawson,"The Use of Representation: Making Some Distinctions," Flast Art(March-April 1979), p. 38.
348 "...they share a renewed interest in the problem of representation." Ibid., 37.
349 "Their images do not refer to the world at large, but instead to the world of other images—art history, magazine illustrations, news photographs, cinema and television. Traditionally, art containing recognizable images has been one of the main connections of modernist art and theory that such meanings are suspect, and that the significance of art is to be found solely within the structure of the work itself. Despite the return to figuration, our work remains within the modernist tradition by imposing a distance between itself and the world. For if a representation is nothing but a substitute for real presence, the representation of a representation involves a double nullity, and all that's left is the structure of representation itself as a mode of signification. Which is to say, our art is cool, detached, analytic. It doesn't pretend to present experience but instead examines the visual codes by which we attempt to encapsulate the events of our lives." Ibid., p. 38.
350 "It is possible to make art making use of a variety of representational conventions withou8t resorting to a confessional impulse. It is possible to make art with a psychological content not depending on narcissistic exhibitionism. It is possible to make art about personality while remaining indifferent to personality. It is possible to make art addressing itself to affect and sentiment withoug losing a sense of irony and detachment. I know this is possible because a group of my friends and myself have been making such art." Ibid., p. 37.
351 "...a group of younger artists sees representation as an inescapable part of our ability to graspthe world around us,"Douglas Crimp, Pictures(New York: Committee for the Visual Arts, 1977), p. 5.
352 "...representation is understood as the only possibility of grasping the world around us." Douglas Crimp,"About Pictures," Flash Art(March-April 1979), p. 34.
353 "...the quality of representation, providing the kind of sensation that we experence as deja vu." Crimp, Pictures, p. 87.
354 Crimp,"About Pictures," p. 34.
355 "While we looking at these photos, we will not know ezactly what is happening, but we will know for certain that something is happening, and that that something belongs to a fictional narrative. Viewers who attempt to reconstruct the narrative fiction implied by the photos take the wrong tack. What we should focus on here is the way the photographs call attention to constructed narrative time and thus shatter the illusion that a photo can capture supposedly natural"real" time."Crimp,"Pictures," p. 80.
356 "The still photograph is generally thought to announce itself as a direct transcription of the real preciselyl in its being a spatiotemporal fragment; or, on the contrary, it may attempt to transcend both space and time by contravening that very fragmentary quality. Sherman's photographs do neither of these. Like ordinary snapshops they appear to be fragments; unlike those snapshots, their fragmentation si not that of the natural continuum, but of a syntagmatic sequence, that is, of a conventional, segmented temporality. They are like quotations from the sequence of frames that constitutes the narrative flow of film. Their sense of narrative is one of its simultaneous presence and absence, a narrative ambience stated but not fulfilled." Crimp,"Pictures," p. 80.
357 Schjeldahl,"An Interview with David Salle," p. 37.
358 "Actually, the moment that I realized how to solve this problem was when Robert and I visited David Salle, who had been working for some sleazy detective magazine. Bored as I was waiting for Robert and David to get their'art talk' over with, I noticed all these 8-by-10 glossies from the magazine which triggered something in me.(I was never one to discuss issues—after all, at that time, I was the'girlfriend')" Sherman cited in Siegel, pp. 271-272.实际上萨尔所工作的杂志社所发行的是男性色情刊物《史塔克》(Stag字意为只有男性可以参加的聚会),内容是黄色的侦探故事。
359 "One day several years ago, in the studio of David Salle...Sherman saw a soft-porn magazine photograph of a'housewife looking sexy' and decided she'd try to look like that. Thus were born the'Film Stills'... Miss Sherman says she was not consciously making a feminist statement when she began these pictures.'I never though of it as political work,' she says.'I don't think of myself as a very political person'—though her work resonates with issues troubling to any woman who has lived through those decades." Vicik Goldberg,"Portrait of a Photographer," p. II-29.
360 "Sherman spent a good part of that night leafing though the porno pictures. They intrigued her. That fall, Sherman and Longo moved to a new loft on South Street and Sherman took a job as a receptionist at Artists Space. And she spent a lot of time thinking about those images. They didn't shock her; she wasn't particularly troubled about issues like exploitation. She was far more fascinated by their mechanics, their form.'They seemed like they were from 50s movies, but you could tell they weren't from real movies,' she says.'Maybe they were done to illustrate some sleazy story in a magazine. They were women in these situations. What was interesting to me,'she continued,'was that you couldn't tell whether each photograph was just its own isolated shot, or whether it was in a series that included other shots that I wasn't seeing. Maybe there were others that continued some kind of story. I was really ambiguous." Gerald Marzorati,"Imitation of Life," ARTnews,(September 1983), p. 85.
361 Cindy Sherman(Dijon: Deja vu, 1983)
362 I started with Godard and Japanese films. Gradually, I began seeing just regular trash films. Sherman cited in Vicki Goldberg,"Potrait of a Photographer as a Young Artist," New York Times(October 23 1983), p. II-29.
363 Ibid., p. II-29.
364 Barbara Miller,"Sherman's Mass Appeal," Afterimage(November-December 1997), p. 6.
365 "I called them film stills mostly because I was thinking of publicity stills like you'd see around Forty-second Street, in boxes of hundreds of them for thirty-five cents each." Paul Taylor,"Cindy Sherman," Flash Art(Octover-November 1985), p. 78.
366 "I wanted to seem cheap and trashy, something you'd find in a novelty store and buy for a quarter. I don't want them to look like art." Tomkins,"Her Secert Identiteds," p. 78.
367 “…dressed herself in clothes ftom thrift shops…fifties and sixcies dresses could look old and new because of the contemporary aesthetic of thrift．Thrift culture was being embraced in the 70s as an antidote，the refusal 0f commercial fashion and its dictate to imitate；those who wore thrift were living simply，closer to the ground，using the old coat as a badge of alienation．”Molly Nesbit，“Bright，Light，Big City，”Artforum(April 2003)，p．189．内斯比也将穿戴这种识别标记和表现疏离感的人，理解为纽约的一群“挪用」艺术家，她认为挪用是一种共同对二手文化的热爱，如萨尔、舍曼等都是属于这一群人。Ibid．，p．245．
368 "The idea of kitsch is understanding the irony of it. It's so bad it's good." Sherman cited in Goldberg,"Portrait of a Photographer as a Young Artist," p. 29.
369 罗森写到对当时纽约的印象：“除了在纽约的艺术停滞不前，还有很多其它的事物让我们了解纽约。整个城市接近毁灭，所有的都市结构都在恶化，如高速公路倒塌，到处是危险的桥梁，地铁快要停止运行。在城里的贫穷区域，屋主弃置了他们的房子，其它的区域，则是投机的房地产交易猖獗。」"While art was stagnating in New York there were plenty of other things to look at and think about. The city itself was nearing bankruptcy, its physical structure rapidly deteriorating—one highway had collapsed, the bridges were declared in danger, the subways were more and more likely to breakdown. In poor parts of town, buildings were being abandoned by their owners, while in others, real estate speculation was rampant." Thomas Lawson,"We Must Embrace Our Joys and Sorrows," ZG3(1981).
370 "During the first year after graduation, I stayed in Buffalo and resisted the idea of going to New York. I think a lot of it came from the fear that ray parents instilled in me. Even though I grew up less than one hour from the city, my parents made everybody in the family think that New York is an evil place where you're going to get mugged or raped. There was no question of my going to school in the city, which is why I went to Buffalo. I think that was still in my mind; I was still afraid of New York[in 1977]. Noriko Fuku,"A Woman of Parts." Art in America(June 1997), pp. 78-79.
371 "The first summer I was just so intimidated by the city I was afraid to leave the house. It had a lot to do with just growing up. It was a totally different way of getting by from day to day compared to living in someplace like Buffalo. The structure of a day, for instance, is so different; the way you just have to deal with walking down the street or the public transportation, and the hassles from all the people in the street. It was very hard to get used to. It took me about a year to sort everything out." Sherman cited in Thompson.
372 "I was really shocked at how I was treated just walking down the street." Sherman cited in Cindy Sherman: Nobody's Here But Me.
373 "I remember men on the street being a lot more disgusting to women. But then, I was coming from Buffalo, and maybe I still wasn't wearing bras. I immediately started wearing bras." Sherman, 5,000 Artists, p. 85.
374 "In order to feel comfortable in city you have to have street persona....And then you have your other persona when you get inside." Sherman cited in Cindy Sherman: Nobody's Here But Me.
375 "I've gone through many stages where I ahd a boy's haircut and the punk stage where you just wear sunglasses on the street and almost a little suit so that nobody can even tell you're a woman." Sherman cited from Cindy Sherman: Nobody's Here But Me.
376 "I really changed my identity to be more butch, almost military. I wore an army coat to be more neutral on the streets." Sherman, 5,000 Artists, p. 85.
377 "If I was walking down a street that was scary, I would just try to look like I migh have a knife or gun in my pocket, so don't mess with me." Sherman cited in Cindy Sherman: Nobody's Here But Me.
378 Tomkins,"Her Secret Identities," p. 77.
379 "I wanted to blend in more with the people that on the street.... I didn't want to look like another weirdo, so I...started dressing up like secretaries or ordinary-looking people.... Eventually I stopped dressing up and going out in public altogether because it was just too weird an experience to be entertaining the people that knew I was dressed up." Cindy Sherman: An Interview.
380 "Predatory reactions from men in the streets dissuaded Sherman from keeping up her quotidian performances.'It's too scary losing yourself in New York,' she syas. She adopted a more pragmatic masquerade—'threatening and asexusal to fend off creepy guys'—and'blended in as just another weird person on the street.' She simultaneously channeled her bent for being other than Cindy Sherman into her art, and the results were electric." Schjeldahl,"She is a Camera," p. 18."Sherman found herself uncomfortable playing dress-up in Manhattan.'It was like losing my own identity. I felt too vulnerable,' she says. She continued dressing up in the loft she and Longo shared on Fulton Street, and taking black-and-white pictures of the results." Hoban,"Sherman's March," p. 243.
381 "She hadn't realized until Janelle's show that she didn't want ot dress up anymore." Sherman, 5,000 Artists, p. 85.
382 "She'd get dressed and put on her makeup, and then never leave the apartment." Tomkins,"Her Identities," p. 77.
383 "She'd put on all this fucking makeup, put my socks in her tits and come overto me looking like a fucking transvestite.'Ooh, give me a kiss,' she'd say. Horrible. But then you'd see the photographs, and she'd look fucking hot." Taylor,"Face to Face with Cindy Sherman, p. 83.
384 Evans, op. cit., p. 242.
385 纽约市的拍摄场景：London Terrace Apartments in Chelsea(17-20)；Chelsea piers(24-25)；area around Bowling Green(21-23)—old Customs House(22)；neighborhood’s oId cobblestone(23)； Standard Oil building and number 2 Broadway(21)；World Trade Center(57，59，63)；Barclay·Vesey New York Telephone Building(58)．See Evans，op．cit．，p．243．
386 Catherine Morris, The Essential Cindy Sherman(New York: Wonderland Press, 1999), p. 40.
387 在舍曼的底片缩图中可看出原本7号剧照原本的构图里有一男性，后来则被舍曼裁切了。Cindy Sherman：Retrpspective．
388 "Sherman always conceived the character in the stills as relating to another figure, who is either partially seen or imagined. The edge of a sweater against the back of the chair discernible in Unititled Film Still #5, for example, is a propused to imply another character.[...] Intended to portray a dialogue between two people—not a moment of introspective self—examination—the scenarios are often quite involved in Sherman's mind. She describes Untitled Film Still #14 as possibly the most thought out and set up of her scenes. A single glass of wine and a jacket hanging from a chair, both visible only in the mirror, suggest the off-camera presence of a second person, one to whom the character has turned and who is the cause of her distress. Like the mirror in #14, the framed photograph on the wall in Untitled Film Stills #16 hints at a dialogue with another person. For Sherman, the woman is'Jeanne Moreau kind of character,' and the man in the picture on the wall behind her might be the'father who ahs cut her out of the will.'" Phyllis Rosenzweig,'The Untitled Film Stills,"(Washington, D.C.: Hirshhorn Museum, 1995).
389 I still wanted to make a filmic sort of image, but I wanted to work alond. I realized that I could make a picture of a character reacting to something outside the frame so that the viewer would assume another perosn." Siegel, op. cit., p. 271
390 "...because I had to photograph myself alone, I had to act either like there was someone out of frame watching me, or as though I was really alone." Taylor,"Cindy Sherman," pp. 78-79.
391 "...allegory means'other speech'(alia oratio), from allos, other, and agoreuein, to speak openly, to harangue in the agora; it signifies and open declamatory speech which contains another layer of meaning." Marina Warner, Monuments and Maidens: The Alleogory of the Female Form(New York: Atheneum, 1985), p. xix.
392 "...a human reconstitution of divinely inspired messages, a revealed transcendental language which tries to preserve the remoteness of a properly viled godhead." Angus Fletcher, Allegory: The Theory of a Symbolic Mode(Ithaca: Cornell University Press, 1964), p. 21.
393 "In allegory we are not dealing with multiple meanings engendered by a single sign: rather, two clearly defined but mutually incompatible readings are engaged in blind confrontation in such a way that it is impossible to choose between them."Craig Owens,"The Allegorical Impulse: Toward a Theory of Postmodernism," Art After Modernism: Rethinking Representation, p. 220.
394 "De Man recognizes allegory as the structural interference of two distinct levels or usages of language, literal and rhetorical, one of which denies precisely what the other affirms." Ibid., p. 221.
395 "We cannot settle and say that the poem simply has two meanings that exist side by side. The two readings have to engage each other in direct confrontation, for the one reading is precisely the error denounced by the other and has to be undone by it. Nor can we in any way make a valid decision as to which of the readings can be given priority over the other; non can exist in the other's absence." Paul de Man cited in Owens, p. 222.
396 "When the postmodernist work speak of itself, it is no longer to proclaim its autonomy, its self-sufficiency, its transcendence; rahter, it is to narrate tis own contingency, insufficiency, lack of transcendence. It tells of a desire that must be perpetually deferred; as such, its deconstructive thrust is aimed not only against the contemporary myths that furnish its subject matter, but also against the symbolic, totalizing impulse which characterizes modernist art." Ibid., p. 235.
397 "A film still suspends not only motion but also story, diegesis; engendered by the syntagmatic disjunction of images, compels a vertical or paradigmatic reading." Craig Owens,"The allegorical Impulse: Toward a Theory of Postmodernism," October(Summer, 1980), p. 81.
398 "...a signifier without a sinified," Ibid., p.82.
399 "the obtuse meaning has something to do with disguise, Barthes identifies it with isolated details of makeup and costume(which properly belong to the literal level which, through excess, proclaim their own artifice.... work to expose the image as fiction." Ibid., p. 82.
400 "Since the obtuse meaning ahs no objective, independent existence, it depends upon the literal and the rhetorical, which it nevertheless undoes. An unwelcome supplement, it exposes the literal level of the image to be a fiction, implicating it in the web of substitutions and reversals properly characteristic of the symbolic. The actor is revealed as the(metaphorical) substitute for character; his facial contortions, the emblem of grief, not its direct expression. Hence every image that participates in what photography criticism calls the directorial, as opposed to the documentary, mode is open to the intervention of obtuse meaning. And the symbolic dimension of the image, which depends upon the univocity of the literal, is thereby disfigured..." Ibid., pp. 82-83.
401 "Sherman's women are not women but images of women, specular models of femininity projected by the media to encourage imitation, identification..." Ibid., p. 84.
402 "It is the uncanny precision with which Sherman represents these tropes, the very perfection of her impersonations leaves an unresolved margin of incongruity in which the image, freed from the constraints of referential and symbolic meaning, can accomplish its'work.' That work is, of course, the deconstruction of the supposed innocence of the images of women projected by the media, and this Sherman accomplishes by thoroughly, that artist and role appear to have merged into a seamless whole..." Ibid., p.84.
404 "Realism's aim was to give a truthful, objective and impartial representation of the real world, based on meticulous ovservation of contemporary life." Linda Nochlin, Realism(Harmondsworth: Penguin, 1971), p. 13.
405 "Painting is an essentially concrete art and can only consist of the representation of real and existing things. It is a completely physical language, the words of which consist of all visible objects; an object which is a abstract, not visible, non existent, is not within the realm of painting." Gustave Courbet cited in Nochlin, Realism, p. 23.
406 "a fish, captured in paint", Ibid., p. 73.
407 Charles Rosen and Henri Zerner, Romanticism and Realism: The Mythology of Nineteenth-Century Art(New York: Viking, 1984), pp. 176-177.
408 "If contemporary life was to be represented with its banality, ugliness, and mediocrity undistorted, unromanticized, the the aesthetic interest had to be shifted from the objects represented to the means of representation...although it is sometimes see as odd contradition in Realism, it is, in fact, the condition of tis existence." Ibid., pp. 149-150.
409 Charles F. Stuckey,"Manet Revised: Whodunit?" Art in America 71.10(November 1983), p. 163.
410 Manet, cited in Cachin, Manet, p. 182.
411 "Tell them aloud, then, cher maitre, that a painting is for you a mere pretext for analysis. You needed a nude woman, and you chose Olympia, the first to come along; you needed clear and luminous tones, and you introduced a bouquet; you needed black tones, and you placed in a corner a Negress and a cat. What does all that mean? You hardly know, and neither do I." Emile Zola, cited in Reff, Olympia, pp. 22-23.
412 Andre Malraux, cited in Bataille, p. 55.
413 Eunice Lipton,"Manet: A redicalized Female Imagery," Artforum 13.7(1975) pp. 48-49.
414 T. J. Clark,"Olympia's Choice," The Painting of Modern Life: Paris in the Art of Manet and his Followers(New York: Knopf, 1985), pp. 79-80.
415 Grieslda Pollock, Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History(London: Thames & Hudson, 1992), p. 20.
416 《现场》在1964到1965年间在多处表演，1993年重新编入莱那(Yvonne Rainer)的舞蹈节目中。Yovnne Rainer，“A Ouasi Survey of Some‘Minimalist’Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora，or An Analysis of Trio A，”Minimal Art：Acritical Anthology，ed．Gregory Battcock(Berkeley：University of California Press，1995)，p．263-273．《现场》实际上意指的是工地现场(construction site)。
417 "The action on stage is organized as a kind of tableau vivant. Downstage left, a white box conceals the hardware for the soundtrack—a tape of construction workers drilling with jackharmmers. Upstage an right of center, Robert Morris stands with his back to the audience. Several minutes later, he walks upstage center to a large structure composed of whitewashed plywood boards and slowly begins to take it apart. Dressed in work clothes, his hands and feed protected by heavy work gloves and boots, he wears a papier-mache maske designed to re[roduce, without expression, his facial features. As Morris removes the heavy boards, relocating them to other parts of the stage, he exposes Carolee Schneeman reclining on a lounge of pillows and white favric. Naked except for a dusting of white powder and a ribbon around her neck, she is posed in the manner of Edouard Manet's Olympia...After Schneeman is fully revealed, Morris walks downstage left, where he moves one of the sheets of plywood into various positions(e.g. carrying it on his back, kneeling next to it). Several minutes later Morris walks back to Schneeman and covers her with the board. He then returns downstage left and turns his back to the audience as the house lights dim." Maurice Berger, Labyrinths: Rovert Morris, Minimalism, and the 1960,(New York: Icon Harper & Row, 1989), pp. 81-82.
418 Henry M. Sayre, The Object of Performance.
419 "Site explores the relationship between the picture plane(the plywood panels) and the third dimension(the performers)." Kimberly Paice, Site in Robert Morris: The Mind/Body Problem(New York: Solomon R. Guggenheim Foundation, 1994), p. 168.
420 Douglas Crimp,"The Photographic Activity of Postmodernism." On the Museum's Ruins,(Cambridge, MA and London: The MIT Press, 1993), pp. 108-109.
421 "Real allegory: the world gives itself in representation, no other way, and so also gives itself beyond or in excess of its identity, demanding reading, not because it is hiding but because it is there. Stephen Melville,"The time of Exposure: Allegorical Self-Portraiture in Cindy Sherman," Arts Magazine 60.5(January 1986), pp. 17-21.
422 傅妮契岁(Annette Funicello)与马格瑞特(Ann-Margret)为美国60和70年代最受欢迎的女演员。
423 “Cindy Sherman’s‘Still’series mines the genre of film-publicity photos with a touch of irony and a fir shake of wistful longing．She’s her own New York new wave heroine，dressed up as Annette Funicello or Ann-Margret，lounging in a Hollywood ski lodge or standing anxiously aside a road．”Andy Grundberg，“Artbreakers：Cindy Sherman，”SoHo geekly News(Septerber 17，1980)，p．37．泰勒则比喻如果这群挪用艺术家是个新浪潮乐团，舍曼则是其中的主唱女歌手。“Sherman was one of the stars 0f this group．much like a lead female signer in a new wave band…”Taylor，“Face t0 Face with Cindy Sherman，”p．84．
424 Evans, op. cit., pp. 272-273.
425 Ibid., p. 274.
426 Ibid., pp. 275-294.
427 "The stereotype functions as a refusal to understand the artist as a source of originality..." Rosalind Krauss,"A Note on Photography and the Simulacral," October 31(Winter 1984), p. 59.
428 舍曼可能在参与1977年“廊墙」艺廊的“何时何地展」(WHERENWHEN)时遗失了这张照片的缩图目录和底片。对这张照片她有两种不同的说法，第一种是她原本一开始就想展出这张照片，但是找不到底片和照片。Cindy Sherman，“The Making of Untitled，”p．7．第二种说法则是她在1977年的展览并没有想要包含这张照片。Michael Kimmelman，“Unambiguously Cindy，”New York Times Magazine(October 5 2003)，p．32．
429 "...the image seemed too mysterious to me. I thought you couldn't see the character. But now I find her emblematic of the whole group. It's a perfectly ambiguous picture." Sherman cited in"Unambiguously Cindy," New York Times Magazine(October 5 2003), p. 32.
430 Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot,(Berkely: University of California Press, 1980), p. 4.
431 Eunice Lipton,"Manet: A redicalized Female Imagery," Art forum 13.7(1975) pp. 48-49.
432 "A nude...is a picture for men to look at, in which Woman is contructed as the object of somebody else's desire." T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers(New York: Knopf, 1985), p. 131.
433 "A nude hardly be said to do its work as a painting at all if it did not find a way to address the spectator and give him access to the body on display. He had to be offered a place outside the picture and a way in; be assured somehow that his way was the right one, leading to the knowledge he required." Ibid., p. 132.
434 1865年《奥林匹亚》在沙龙展出时，女性如尤吉尼皇后(Empress Eugenie)也被这幅画所激怒。
435 马奈在1868在画室搭了作家办公室的场景，为佐拉画了一幅《艾米尔·佐拉的肖像》(Portrait，d'Emile Zola)，画中马奈安排将画作《奥林匹亚》挂在佐拉的书桌上方。马奈在这幅肖像画中似乎更 强调了奥林匹亚的在原画中的安排，她的目光投向左斜前方，向下望着她的(《奥林匹亚》的)拥护者，她明白的表现出她的焦点和兴趣是在佐拉的身上。
436 沙辛(Francoise Cachin)陈述在幕后的接待是可能有她的仰慕者。“the flower refer us to the invisible admirer who may be waiting behind the green curtain of the antechamber．”Francoise Cachin，Manet，p．53．十九世纪的评论家也推测那束花可能是某位男士买来送给她的。“The bouquet was bought at the florist’s on the corner，and paid for by Monsieur Arthu...Arthur is certainly in the antechamber waitng．”Postwar cited in Clark，p．87．
437 Sarah Evans．Figures for a Melancholy Mind：Absorption and Allegory jn Edouard Manet’s Images of Berthe Morrisot and Victorine Meurent(Ontario：Trent University，1998)，p．104．
438 透过X光的检验显示出作品原先的安排，两缕布帘之间的原始距离较大，马奈将布帘拉近，使得中间只剩下一条缝隙，用意是暗示观众被拒绝邀请到后面的空间。
439 Farwell, Manet and the Nude, p. 226.
440 如弗莱德(Michael Fried)在《马奈的现代主义》(Manet’s Modernism)中所提到的，马奈的作品面对观众，并告知观众他的存在，其目的是为了要把观众排斥在外。“One effect of Manet’s stratrgy，and doubtless also a principal cause of extreme provocation that hi s paintings typically offered to contemporary audiences．is that the beholder sensed that he had been made supererogarory to a situation that ostensibly demanded his presence，as if hi s place before the painting were already occupied by virtue Of the extreme measures that had been taken to stake it out．”Michael Fried，Manet’s Modernism，p．266．事实上在幕帘后方等待的男士，有可能正是马奈自己。在马奈在他的版画集(Manet：Eaux-fortes)的封面里将自己比喻为戏剧中的丑角(Polichinelle)，除了他所画的帽子及吉他外，丑角一般的演出是从幕帘后探出头来。弗莱德也提到瑞夫(Theodore Reff)解读马奈认为“丑角」是他的另一个自我。Ibid．，p．48-54．
441 甚至在1867年在《美女之惊惶》中加上萨梯的男性角色，以避免如同奥林匹亚所产生的效应。但是在马奈死后，马奈家族中的成员又将萨梯的角色删除，艾凡斯推测可能是《美女之惊惶》的模特儿苏珊所为，她认为苏珊可能为了维护马奈创作的原意而将画中男性角色删去。Evans，Ibid．，pp．106-107．
442 "One reason the pictures are so compelling is that Sherman never seems to be acting in them—she projects the character trough subtle, understated relationships between her expression,her clothes, the background, the lighting, and a general atmosphere unique to each image." Calvin Tomkins,"Her Secret Identities," New Yorker(May 15 2000), p. 78.
443 "Sherman is not a'real actress,' though she's close. She's not comedienne or a dancer or a model or a mime, though she's close on those counts too. She maybe someone who stays, all alone, inside the place that the difference types of performers differently emerge from...She is always signaling emergence but never emerging, eternally a chrysalis." Schjeldahl,"She is a Camera," p. 20.
444 "...the appeal of Sherman's art hinges on the fact that she is being watched by an audience that is excluded from the action. She is at once totally visible and unfathomable. She is forever being consumed by the people who look at and buy her phtographs, but she cannot be entirely possessed by them." Taylor,"Face to Face with Cindy Sherman," p.85.
445 Judith Williamson,"Images of'Woman': Judith Williamson Introduces the photography of Cindy Sherman." Screen(November-December 1983), p.104.
446 "...the dandy is everyman's pose." Hal Foster,'The Problem of Pluralism," p. 13.
447 "... the'realism' of prositute", John Berger, Ways of Seeing(New York: Penguin Books, 1977), p. 63.
448 Griselda Pollock,"Modernity and the spaces of Feminity," Vision and Difference: Feminity, Feminism and the Histories of Art(London and New York: Routledge, 1988), p. 55-80.
449 Ibid., pp. 80-90.
450 若将浪荡子定义仅限于制布尔乔亚的阶层，则如波洛克所言，既没有也不可能会有浪荡女。
451 莫涵也曾以马奈模特儿之名为其展览宣传印制名片，内容为“我是奥林匹亚，马奈先生名画中的主题人物，我邀请你来看这张素描，谢谢你。」Tabarant，“Celle qui fut l’Olympia de Manet”，p．39．“I am Olympia，the subject of M．Manet’s celebrated painting．I invite you to look at this drawing．”cited jn Eunice Lipton，Alias Olympia，p．153．
452 在Cindy Sherman1985年舍曼的先生奥德(Michel Auder)所摄的录像中，舍曼的工作模式是白天听着音乐拍照，晚上则在整理底片时则开着电视，如果电视出现特别的声音引起她的注意，她会将视线瞄向屏幕，然后继续工作。Cited in Evans，p．106．
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