Masking and disguise in postmodern art mirror spatial fragmentation and anonymity.
Evidence
The hats he puts on turn into virtual masks of characters, in much the same way that Cindy Sherman photographs mask the person. This hat makes him look like Humphrey Bogart, this one is for going to the races, that one for going to the opera, and another is for getting married in. The act of masking and disguising connects with spatial fragmentation and alienated individualism. — David Harvey, The Condition of Postmodernity, 2001
Categorization
- XREF: Cindy Sherman’s photographic masking connects to the costume/disguise theme that recurs in White Noise’s consumerist iconography. — connects to: Modernist spatial form unifies parts into a whole while postmodern spatialization disperses totality — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 910; Dress reliably signals identity only in socially rigid locales — Lyn H. Lofland, World of Strangers_ Order and Action in…, 453; Industrial urbanization destroyed appearance as a reliable clue to strangers’ identities (+1 more)
Broader Connections
- Modernist spatial form unifies parts into a whole while postmodern spatialization disperses totality
#expands(0.82) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 910 - Industrial urbanization destroyed appearance as a reliable clue to strangers’ identities
#corroborates(0.80) - Theorists locate the postmodern shift in a crisis of spatial-temporal experience
#expands(0.78) — David Harvey, The Condition of Postmodernity, 1255 - Dress reliably signals identity only in socially rigid locales
#corroborates(0.75) — Lyn H. Lofland, World of Strangers_ Order and Action in…, 453