The metamorphoses of Cindy Sherman knows no boundaries, so it makes sense that an exhibition honouring her work is in a place as vast and all-encompassing as the Museum of Modern Art gallery in New York.
Looking back at her three decades and counting career, the just opened showcase contains over 170 of Sherman’s iconic pieces and portraits, witnessing her take on roles from cinema noir actress to Jean Fouquet’s Madonna of Melun. But Sherman’s countless transformations are beyond pure dress up and trying on a new persona; they are a deep questioning of identity, representation and the role and placement of women in society.
Rather than being solely retrospective, the exhibit is also the first showing of Sherman’s photographic murals from 2010 in America, as well as Carte Blanche: Cindy Sherman, a screening of films made and curated by the conceptual artist, which is fitting considering the strong influence of the medium on her work. The movies will range from horror classic The Texas Chain Saw Massacre to John Waters’ Desperate Living, whilst including Sherman’s short film Doll Clothes and feature filmOffice Killer.
The extensive display of her work shows that even under wigs, prosthetics and layers of makeup, the real Cindy Sherman is always unmistakably there.
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