In the process, I'd like to explore the connections of the grotesque and the gothic to the postmodern, hoping perhaps to illuminate some of the aspirations and limitations of both. I'd like to focus on this and several of Sherman's subsequent series of art photographs over the course of the decade 1985-1995 that draw us deeper into the realm of the uncanny, the horrific, the disturbing, in short, the Grotesque, of which the gothic sensibility is a subsidiary, but contemporary expression. The gothic series represented Sherman's first foray into the nether side of our age's pop-culture fantasies and nightmare dreamings of states of being which force us to encounter the borderlines of our everyday worlds. This sequence followed her earlier series of images of women drawn from grade B European and American films, which depicted women in various states of solitude, anxiety, and danger, and her subsequent images of contemporary women seemingly on the verge of nervous breakdowns or psychological violation. We see behind me the work of Cindy Sherman, the American artist, from her gothic, fairy-tale inspired composed photographs of 1985.
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