ABSTRACT
In February 1997, there was a show at the Guggenheim called Rrose is a Rrose is a Rrose: Gender Performance in Photography. Guggenheim’s in-house magazine (1997) makes the following comment on the catalogue for the show:
There’s a limit, however, to how seriously one can take these images, and the editors are fond of contrasting deliberately shocking or titillating pictures with those that supply an ironic poke to the ribs. Witness the book’s final pages, where a blue-filtered Sorrenti photo of a model attempting to push her fist down her throat sits opposite the figure of a tattooed Cindy Sherman coyly pantomiming putting a gun to her head. She could be saying, ‘Gee, look what I’ve done.’ It is a compelling statement.
