And yet the uncanny precision with which Sherman represents those 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 innocense of the images of women projected by the media, and this Sherman accomplishes by re-constructing those images so painstakingly, and identifying herself with them so thoroughly, that artist and role appear to have merged into a seamless whole in such a way that it seems impossible to distinguish the dancer from the dance. It is, however, the urgent necessity of making such a distinction that is, in fact, at issue.
Craig Owens, "The Allegorical Impulse"
[Note: I'm still working on posting my London photos. I have a lot to sort through, so it may not be completed until the middle-to-end of next week.]
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