Bibliography CHS - Art bibliographies - in Harvard style

In-text: (Alexander McQueen, 2009)

Your Bibliography: Alexander McQueen, 2009. WOMEN’S AUTUMN/WINTER 2009 “THE HORN OF PLENTY”. [image] Available at: <http://www.alexandermcqueen.com/experience/en/alexandermcqueen/archive/?years=2009> [Accessed 6 January 2015].

In-text: (Alexander McQueen, 2010)

Your Bibliography: Alexander McQueen, 2010. WOMEN'S SPRING/SUMMER 2010 "PLATO'S ATLANTIS". [image] Available at: <http://www.alexandermcqueen.com/experience/en/alexandermcqueen/archive/?years=2010#id_article=260> [Accessed 7 January 2015].

"Everything but the kitchen sink”

In-text: (WOMEN’S AUTUMN/WINTER 2009 “THE HORN OF PLENTY”, 2015)

Your Bibliography: Alexander McQueen. 2015. WOMEN’S AUTUMN/WINTER 2009 “THE HORN OF PLENTY”. [online] Available at: <http://www.alexandermcqueen.com/experience/en/alexandermcqueen/archive/?years=2009#id_article=254> [Accessed 6 January 2015].

“The body is the inscribed surface of events”

In-text: (Butler and Foucault, 1993)

Your Bibliography: Butler, J. and Foucault, 1993. Bodies that matter. New York: Routledge, p.165.

"The Grotesque body is a body whose boundaries are uncertain and always changeable"

In-text: (Fraser and Greco, 2005)

Your Bibliography: Fraser, M. and Greco, M., 2005. The body. London: Routledge, p.70.

"It is thus not lack of cleanliness or health that causes abjection but what disturbs identity, system, order. What does not respect borders, positions, rules. The in-between, the ambiguous, the composite."

In-text: (Kristeva and Roudiez, 1982)

Your Bibliography: Kristeva, J. and Roudiez, L., 1982. Powers of horror. New York: Columbia University Press, p.4.

"What does not respect borders, positions, rules. The in-between, the ambiguous, the composite. "

In-text: (Kristeva and Roudiez, 1982)

Your Bibliography: Kristeva, J. and Roudiez, L., 1982. Powers of horror. New York: Columbia University Press, p.4.

“Despite constant claims by critics that these apparent self-portraits represent a haphazard, motley collection of diverse characters (a wide cross-section of femininity), I argue that the images involve the representation of characters who are only slightly distinct from Sherman herself... I argue, an entirely new look at the work. Viewed as bearing more similarities than differences, the characters seem less representative of feminine diversity and more like variations on a theme”

In-text: (Meagher, 2007)

Your Bibliography: Meagher, M., 2007. Improvisation within a Scene of Constraint: Cindy Sherman's Serial Self-Portraiture. Body & Society, 13(4), pp.2-3.

Cindy Sherman Untitled #355. 2000

In-text: (MoMA, 2000)

Your Bibliography: MoMA, 2000. Untitled #355. 2000. [image] Available at: <http://www.moma.org/interactives/exhibitions/2012/cindysherman/gallery/8/#/2/untitled-355-2000/> [Accessed 11 January 2015].

Cindy Sherman Untitled #359. 2000

In-text: (MoMA, 2000)

Your Bibliography: MoMA, 2000. Untitled #359. 2000. [image] Available at: <http://www.moma.org/interactives/exhibitions/2012/cindysherman/gallery/8/#/0/untitled-359-2000/> [Accessed 11 January 2015].

“From the perspective of feminist aesthetics, this narrative of disintegration, horror and finally disgust, raises, first and foremost, the question of the source, or origin, of this phantasmagoria of the female body, and, secondly, how it might be analysed. Sherman depicts a phantasmatic space, projected onto and then into the female body. A variety of issues are raised by the question of spatial metaphor.”

In-text: (Mulvey, 1991)

Your Bibliography: Mulvey, L., 1991. A Phantasmagoria of the Female Body: The Work of Cindy Sherman. [online] Academia.edu. Available at: <http://www.academia.edu/202058/A_Phantasmagoria_of_the_Female_Body_The_Work_of_Cindy_Sherman> [Accessed 12 January 2015].

“Cindy Sherman’s concentration on the female body seemed almost shocking, her representations of femininity were not a return, but a re-representation, a making strange”

In-text: (Mulvey, 1991)

Your Bibliography: Mulvey, L., 1991. A Phantasmagoria of the Female Body: The Work of Cindy Sherman. [online] Academia.edu. Available at: <http://www.academia.edu/202058/A_Phantasmagoria_of_the_Female_Body_The_Work_of_Cindy_Sherman> [Accessed 6 January 2015].

“There is no essential, fixed or permanent body. The body may well be biological, and is indeed composed of living muscle, bone and soft tissue, but it is also subject to its cultural environment. The body is formed or ‘built by the dictates of culture.”

In-text: (Richardson, 2010)

Your Bibliography: Richardson, N., 2010. Transgressive bodies. Farnham, Surrey: Ashgate Pub., p.10.

When I was in school I was getting disgusted with the attitude of art being soreligious or sacred, so I wanted to make something which people could relate to without having read a book about it first. So that anybody off the street couldappreciate it, even if they couldn’t fully understand it; they could still get something out of it. That’s the reason why I wanted to imitate something out of the culture, and also make fun of the culture as I was doing it.

In-text: (Sherman, 2015)

Your Bibliography: Sherman, C., 2015. A Phantasmagoria of the Female Body: The Work of Cindy Sherman. [online] Academia.edu. Available at: <http://www.academia.edu/202058/A_Phantasmagoria_of_the_Female_Body_The_Work_of_Cindy_Sherman> [Accessed 11 January 2015].

“As a figure for her- meneutics itself, it may be read as enacting the discovery of essence that lies beneath appearance, truth beneath falsehood, reality beneath fiction, plain speech beneath cosmetic rhetoric. Indeed...Nietzsche uses this very topos in order to overturn it, in order to critique the hermeneutic model that would find an essence beneath appearance. These are, of course, valid interpretations. Yet they discard the literal in order to concentrate on the figural and do not ask why woman is favoured as the vehicle of the metaphor.”

In-text: (Spackman, 1989)

Your Bibliography: Spackman, B., 1989. Decadent genealogies. Ithaca: Cornell University Press.

“Individual might discover its body to be that of a thing, like a piece of clothing or electronic device. The person becomes a extraneous body, deprived of subjective experiences…Art work has become it’s own reality. Totally disconnecting from any external real world references.”

In-text: (Swearingen and Cutting-Gray, 2002)

Your Bibliography: Swearingen, J. and Cutting-Gray, J., 2002. Extreme beauty. New York: Continuum.

In-text: (TATE, 2015)

Your Bibliography: TATE, 2015. Cindy Sherman Untitled Film Still #27 1979, reprinted 1998. [image] Available at: <http://www.tate.org.uk/art/artworks/sherman-untitled-film-still-48-p11518> [Accessed 11 January 2015].