I can not understand the exact meaning of the bold sentence and its relation to Cindy Sherman’s photographs. Could you please share your interpretations of it with me?
A typical example here would be Marilyn Monroe, whose smiling image circulates in Andy Warhol’s screen print series as representations that both seduce in their phallic power, warding off castration, but at the same time seem riddled with decay, the mechanical reproductions deliberately exhibiting the flaws of the printing process, their varying saccharine colours testifying to something sickly. Warhol’s Gold Marilyn has both the precious veneer of gold leaf and its peeling away, the fetishised smile becoming more and more deathly in its reproduction. In a later essay on Cindy Sherman’s photographs, Mulvey writes that Sherman stages the veiling and unveiling characteristic of the process of fetishism – the oscillation between two contradictory views, the reverence and revulsion towards the art-historical nature of the fetish as a sign in great works of art featuring Madonnas more generally and the works of Hans Bellmer specifically. In Sherman’s Untitled, 1985, she uses a prosthetic butt to turn herself into a doll. This could be read as a self-fetishisation of the female body (Art and Psychoanalysis by Maria Walsh).