ures ▁question ed ▁the ▁authentic ity ▁of ▁the ▁constructed ▁self , ▁suggesting ▁it ▁was ▁instead ▁cont riv ed ▁from ▁represent ational ▁parts . ▁Art ▁was ▁used ▁not ▁as ▁a ▁platform ▁of ▁personal ▁expression , ▁but ▁as ▁an ▁opportunity ▁to ▁expose ▁the ▁self ▁as ▁an ▁imag ined ▁creation . ▁By ▁ju xt ap osing ▁different ▁sign ifiers ▁of ▁femin inity , ▁Mar is ol ▁explained ▁the ▁way ▁in ▁which ▁' f em in inity ' ▁is ▁cult ur ally ▁produced . ▁But , ▁by ▁incorpor ating ▁cast s ▁of ▁her ▁own ▁hands ▁and ▁expression al ▁stro kes ▁in ▁her ▁work , ▁Mar is ol ▁combined ▁symbols ▁of ▁the ▁' art ist ' ▁identity ▁celebrated ▁throughout ▁art ▁history . ▁This ▁approach ▁dest abil ized ▁the ▁idea ▁of ▁art istic ▁virtue ▁as ▁a ▁r het or ical ▁construct ▁of ▁mascul ine ▁logic . ▁Therefore , ▁" Col laps ing ▁the ▁distance ▁between ▁the ▁role ▁of ▁woman ▁and ▁that ▁of ▁artist ▁by ▁tre ating ▁the ▁signs ▁of ▁art istic ▁mascul inity ▁as ▁no ▁less ▁cont ing ent , ▁no ▁less ▁the ▁product ▁of ▁representation , ▁than ▁are ▁the ▁signs ▁of ▁femin inity ." ▁Mar is ol ▁exposed ▁the ▁mer it ▁of ▁an ▁artist ▁as ▁a ▁fict ional ▁identity ▁that ▁must ▁be ▁en act ed ▁through ▁the ▁repet ition ▁of ▁represent ational ▁parts . ▁ ▁Mar is ol ' s ▁m im etic ▁practice ▁included ▁the ▁im itation ▁of ▁cele brit ies ▁such ▁as ▁Andy ▁War hol , ▁John ▁Wayne , ▁and ▁President ▁Charles ▁de ▁Ga ulle ,