Geneva Anderson digs into art

Closing Monday: “Cindy Sherman” at SFMOMA, the most comprehensive U.S. exhibition of her groundbreaking work in 15 years and the only stop on the West Coast

An 18 foot tall photographic mural marks the entrance to the exhibition “Cindy Sherman,” at SFMOMA. Instead of relying solely on her signature use of makeup and prosthetics, Sherman used Photoshop to alter her image for the various personas on the mural. The exhibition features 155 of her works and closes Monday, October 8, 2012.

Entering SFMOMA’S 3rd floor Cindy Sherman exhibition, viewers are first greeted by a colossal photo mural featuring several different 18-foot figures from daily life chameleon Cindy Sherman has taken on.  Ranging from what might be woman in a dance class, to a society woman in a red brocade housedress, to a blonde babushka gardener sporting a country-fair medal and cradling a bunch on freshly-picked baby leeks, to a showgirl in a feathered leotard, the women don’t fit into any pat category but hint at the multiple and varied roles contemporary women play.

Sherman created the floor-to-ceiling mural specifically for her travelling retrospective, which first opened in New York at MOMA in February (2012) and will close its run at SFMOMA on Monday, October 8, 2012.   Sherman helped install the SFMOMA show herself and tweaked the mural especially for the Bay Area, using different characters than those included in New York.  The mural shows how her work has changed with evolving digital technology and the magic of image editing.  Instead of the elaborate stage make-up and prostheses that made her famous—seminal examples are on display in the interior galleries—she has now embraced Photoshop.  The mural itself is printed on several gigantic sheets of a special type of contact paper.

One of Sherman’s most recent works, “Untitled #512” (2011), is a 6 x11 foot chromogenic c-print, depicting the artist in feathery white Chanel couture against a harsh and rocky Icelandic seascape. The melancholic setting was digitally inserted behind Sherman’s figure and embellished with expressive faux-brushstrokes.

The 155 images on display through Monday constitute the largest collection of Sherman’s work ever exhibited on the West Coast, and this is the only West Coast showing of the retrospective, which moves to the Walker Art Center in Minneapolis (November 10-February 17, 2013), and then to the Dallas Museum of Art (March 17-June 9, 2013).

Untitled Film Stills: The exhibition includes a complete set of her seminal Untitled Film Stills (1977-80), perhaps her most well-known and recognizable works. Organized and hung per Sherman’s instructions after she visited SFMOMA, these 70 black-and-white photographs, roughly 8 x 10 inches each, are presented in tightly stacked rows that completely fill a small interior gallery’s walls.   The subject: movie roles for women influenced by 1950s and ’60s film noir, big-budget Hollywood and European art house films.  In each of these photographs, resembling back lot movie stills, Sherman plays an archetype—not an actual person, nor a replication of a scene from an actual movie—but a self-fabricated fictional character in a setting that clicks into our collective subconscious as “the housewife,” “the prostitute,” “the woman in distress,” “the woman in tears,” etc.  Sherman doesn’t title any of her works, a decision which invites the viewer to freely associate.  These recycled tropes, which reverberate off of each other, evoke any number of reactions but most certainly…how does she do it, and by “it,” I mean the dropping of one persona and complete embodiment of another?

Sherman uses herself as a model wearing Balenciaga in 2007, just one of a series of collaborations with the revered design house. Sherman has also worked with Marc Jacobs and Comme de Garcons. Cindy Sherman, “Untitled #458,” (2007-8), Chromogenic c-print, 196.5 x 148 cm, Glenstone.

Centerfolds:  All 12 of her controversial Art Forum magazine centerfolds (1981) are included.  The series takes the horizontal centerfold as its conceptual and physical framework and is comprised of 12 life-size 2 x 4 foot images, shot close-up and then cropped to appear squeezed into the frame. It depicts young women in various elaborate outfits—plaid kilts, gingham dress, wet t-shirts—provocatively posed and uncomfortably baring their disturbed souls.  While Sherman was commissioned by the influential magazine to do the series, it was rejected by editor Ingrid Sischy who thought the images might be misunderstood, and the series consequently never ran.  These images have since become some of her most widely discussed and influential work.

Society Women: Some of her strongest work appears at the end of the exhibition—a 2008 series of untitled portraits of aging society women, done in such grand scale that they are nearly life sized, intensifying the tension, vulnerability and uncertainty associated with women and issues of stature, aspiration, wealth, age, beauty, and desire.  Each portrait appears sympathetically done at first glance but, upon closer inspection, becomes a subtle critique of the subject.  In “Untitled #466,” Sherman portrays an elegant woman wearing a shimmering turquoise caftan, with lovely jewelry, regally posed in what appears to be the courtyard of her Tuscan-style villa.  Not one hair is out of place but her exposed foot speaks volumes—it’s clad in thick support hose and pink plastic slippers of the Dollar Store type.

Cindy Sherman, “Untitled #476,” (2008), Chromogenic color-print, 214.6 x 172.7 cm), Collection of Pamela and Arthur Sanders.

“The women in this body of work are in many ways tragic,” said  says Eva Respini, Associate Curator of Photography, MOMA, who organized the show.  “Because they are presented in larger than life size, you can really see every detail and that speaks to this contemporary way of being and the fact that photography is very complicit in the way in which identity is manufactured today.”

While many may mistake Sherman’s photographs for self-portraits, these photographs only play with elements of self-portraiture and are really something quite different.  Sherman is just the model. “Everything is carefully constructed,” says Respini. “These are really all about identity—an exploration of multiple identities.  She was her own model because it was convenient.”

The exhibition also includes selections from her major series: “Fairy Tale/Mythology” (1985), “History Portraits” (1988-90), “Sex Pictures” (1992), “Head Shots” (2000), “Clowns” (2002-04), “Fashion” (1983-84, 1993-94, 2007-08).

A fully illustrated catalogue, Cindy Sherman, accompanies the exhibition, with essays by exhibition curator Eva Respini and art historian Johann Burton, as well as a new interview with Sherman conducted by filmmaker and artist John Waters.  The local curator is Erin O’Toole, assistant curator of photography at SFMOMA.

Read more here:

Details: Cindy Sherman runs through Monday, October 8, 2012.  SFMOMA is located at 151 Third St. (between Mission and Howard), San Francisco. Hours: Monday-Tuesday,11 a.m.-5:45 p.m.; closed Wednesday; Thursday, 11 a.m.-8:45 p.m.; Friday-Sunday,11 a.m.-5:45 p.m. Admission: SFMOMA members are free.  Tickets: Adults $18, seniors (62 and older) $13, students (with current ID) $11, active U.S. military personnel and their families are free, children 12 and under accompanied by an adult are free; half-price admission Thursday evenings 6-8:45 p.m.; the first Tuesday of each month is free.


October 6, 2012 Posted by | Art, SFMOMA | , , , , , | Leave a comment