Recoding painting? Repeated use of artwork in Cindy Sherman and Sam Taylor Wood

  • Dunja Radetic Università Ca' Foscari Venezia
Keywords: Art History, Quotation, Intermediality, Memory, Reactivation,


Taking a cue form theoretical studies on adaptation, we propose to draw a relationship with similar insights emerged in some recent art historical studies.
Through a theoretical analysis of two contemporary artworks by Cindy Sherman and Sam Taylor Wood, both based on earlier visual tradition, we will consider the effects of re-production of images as the re-production of deferred meaning. The intersystemic quotation such as painting - tableau vivant – coding by photographic and video technologies, works at different levels and creates high degree of ambiguity between the media and the images involved. This mediation produces disturbing effects on the viewer who has to recognize in the artwork an contaminated and elusive visual tradition, which displays a latent meanings and (re)activates memory images. In order to understand these complex layers it is necessary to consider the work and its subtext in terms of a shared temporality in which images, media and extratextual memories, interact.


Download data is not yet available.

Author Biography

Dunja Radetic, Università Ca' Foscari Venezia

Dunja Radetic is a PhD candidate at Ca' Foscari IUAV inter-university doctoral school in Art History. Her research project is about strategies of migration of art historical imagery in contemporary art, under supervision of prof. Giuseppe Barbieri. She is interested in the field of multimedia design for the rapresentation of art historical images in IT applications for museums.


Ai confini tra tecnologia, arte e storia dell'arte. alcuni esempi di visualizzazione e interazione, Atti COMPALIT «Performance e performatività» 2010, 2011

Per un Centro Multimediale su Giovanni Antonio de' Sacchis detto il Pordenone: analisi dinamica dell’opera d’arte, 2011

Cenni sulla storia dell’arte nel web dagli anni ’90 a oggi, 2009



Bal, Mieke, Quoting Caravaggio. The preposterous history, Chicago, University Of Chicago Press, 1999

Barragán, Paco, “Let's Per-form! Form and Performance of the Pictorial Moving Image”, When the Painting Moves... Something Must be Rotten!, Eds. Wendt Selene - Barragán Paco, Milano, Charta, 2011: 11-17

Baxandall, Michael, Patterns of intention, 1985, Yale University Press,, Forme dell'intenzione. Sulla spiegazione storica delle opere d'arte, Torino, Einaudi, 2000

Belting, Hans, Das unsichtbare Meisterwerk: Die modernen Mythen der Kunst, München, C. H. Beck Verlag, 1998.

Belting, Hans, “Toward an Anthropology of the Image”, Anthropologies of Art, Clark Studies Visual Arts, Proceedings of Clark Conference, 25-26 April, 2003, Ed. Mariët Westermann, New Haven, London, Yale University Press, 2005: 41-59

Belting, Hans, “Image, medium, body: A new approach to iconology”, Critical Inquiry, 31 (2005): 302-319,, “Immagine, medium, corpo: un nuovo approccio all'iconologia”, Teorie dell'immagine. Il dibattito contemporaneo, Ed. Andrea Pinotti - Antonio Somaini, Milano, Raffaello Cortina Editore, 2009

Bois, Yve-Alain - Krauss, Rosalind, Formless: A User's Guide, 1997, L'informe, Milano, Mondadori, 2003.

Bowen, Dore, “Imagine There's no Image (It's Easy if You Try): Appropriation in the Age of Digital Reproduction”, A Companion to Contemporary Art since 1945, Ed. Amelia Jones, Oxford, Blackwell Publishing, 2006: 534-556

Burini, Silvia, “Jurij Lotman e la semiotica delle arti figurative”, in Jurij M. Lotman, Il girotondo delle muse. Saggi di semiotica delle arti e della rappresentazione, Ed. Silvia Burini, Bergamo, Moretti & Vitali, 1998

Danto, Arthur, History Portraits: Cindy Sherman, New York, Rizzoli, 1991

Dickhaut, Kirsten,Iconologia della memoria”, in Memoria e saperi. Percorsi transdisciplinari, Eds. Elena Agazzi - Vita Fortunati, Roma, Meltemi, 2007: 287-304

Didi-Huberman, Georges, Ouvrir Venus, Paris, Galimard, 1999,, Aprire Venere. Nudità, sogno, crudeltà, Einaudi, Torino, 2001

Didi-Huberman, Georges, Devant le temps. Historie de l'art et anachronisme des images, Paris, éditions de Minuit,2000,, Storia dell'arte e anacronismo delle immagini, Torino, Bollati Boringhieri, 2007

Didi-Huberman, Georges, Ninfa moderna: Essai sur le drapé tombé, Paris, Galimard, 2002,, La ninfa moderna, saggio sul panneggio caduto, Milano, Il Saggiatore, 2004

Ferguson, W. Bruce, “Sam Taylor-Wood. Gli occhi e le orecchie della storia, The eyes and ears of history”, Sam Taylor-Wood, Ed. Germano Celant, Milano, Fondazione Prada, 1998: 8-21

Focillon Henri, La vie des formes, Paris, E. Leroux, 1934

Genette, Gérard, L'Œuvre de l'art. Immanence et transcendence, Paris, Seuil, 1994,, L'opera dell'arte. Immanenza e trascendenza, Bologna, CLUEB, 1999

Hutcheon Linda, The Theory of the Adaptation, New York, Routledge, 2006,, Teoria degli adattamenti. I percorsi delle storie fra letteratura, cinema, nuovi media, Roma, Armando Editore, 2011.

Jones Amelia, “Decorporealization”, in Sensorium. Embodied experience, technology, and contemporary art, Ed. Jones A. Caroline, The MIT Press, 2006

Krauss Rosalind, Bachelors, The MIT Press, 1999, Celibi, Torino, Codice Edizioni, 2004

Lotman, Jurij, Kul’tura i vzryv, Mosca, Gnosis, 1993,, La cultura e l’esplosione, Milano, Feltrinelli, 1993

Lotman, Jurij, Cercare la strada, Venezia, Marsilio, 1994.

Lotman, Jurij, Il girotondo delle muse. Saggi sulla semiotica delle arti e della rappresentazione, Ed. Silvia Burini, Bergamo, Moretti & Vitali, 1998

Marin Louis, Détruire la peinture, Paris, Galilée, 1977

Mengoni Angela, “Sulla teoria lotmaniana dell'ansambl'. Esplosioni anacronistiche da Burden a Manet”, Incidenti ed esplosioni: A.J. Greimas, J.M. Lotman per una semiotica della cultura, Ed. Tiziana Migliore, Roma, Aracne, 2010: 115-148

Moxey Keith, “Panofsky's Contept of “Iconology” and the Problem of Interpretation in the History of Art”, in New Literary History, 17(1986): 265-274

Mulvey Laura, “Cosmetics and Abjection: Cindy Sherman 1977-87 (1991/1996)”, Cindy Sherman, October Files, Ed. Johanna Burton, Cambridge, London, The MIT Press, 2006: 65-82; apparso già come “A Phantasmagoria of the Female Body: the Work of Cindy Sherman”, New Left Review, n.188, 1991.

Nagel, Alexander-Wood, S. Christopher, “Anachronic Renaissance”, New York, Zone Books, 2010

Peucker Brigitte, “Tableau Vivant in Film: Intermediality and the Real”, Intermedialität Analog/Digital. Theorien, Methoden, Analisen, Ed. Paech Joachim-Schröter Jens, Muenchen, Wilhelm Fink, 2008: 291-300

How to Cite
Radetic, D. (2012). Recoding painting? Repeated use of artwork in Cindy Sherman and Sam Taylor Wood. Between, 2(4).