In the portfolio of Cindy Sherman - if this word is generally appropriate to apply to a star - top positions in the ratings of the influence of artists, participation in all famous biennials, a record almost $ 4 million for a photo at Christie's in 2014 in New York. Sherman influenced the aesthetics of glamor magazines, but more importantly, their critical reception by the public.. She is rightly called the leader of the pictures generation (according to the exhibition of the same name at the Metropolitan Museum in 2009).

In Paris, Cindy Morris Sherman (b. 1954) shows 300 works created between 1975 and 2020 from museums and private collections.

The most famous Sherman series - Untitled Film Stills (1977-1980). The title should be translated into Russian as " The author tries on the costumes and faces (with and without makeup) of housewives, prostitutes, girls with and without perspectives, abandoned and self-sufficient women.

Let's refrain from discussing feminist stories in the spirit of Simone de Beauvoir (" In this case, more important is Sherman's admission that the suitcase turned out to be with a double bottom. Her characters revealed themselves to be actors. They hide behind masks kindly provided by the media. Pretend to be someone and are struggling with unclear. Clothes imposed certain behaviors on the characters, and they tried to evade these roles.. It is no coincidence that Sherman's heroines, with rare exceptions, do not look into the camera lens.. Usually somewhere to the side. Rosalind Krauss brilliantly said about this episode: "

By the way, now, in the era of selfies, multiplied by the full power of social networks, Sherman's works look no less relevant than 40 years ago..

But there is a photo of Untitled Film Still # 13 (1978): an intelligent-looking young lady pulls out an album from the library shelf. The title is clearly read only in one tome - " Of course, this is a self-portrait of Sherman, who even then (as it is now clear, quite rightfully) tried on the role of a character in such a book. But the irony does not betray her here either: she takes out a completely different album from the shelf.

The Society Portraits series (2008) features Manhattan's socialites. Everything is exaggerated here: makeup, flashy clothes and jewelry.. Roles assigned and accepted, masks put on, they are not removable and irreplaceable.

Another series - History Portraits (1988-1990) - refers not to portraits of historical characters, but to the stereotypes of perception of these people after a tourist run through museums. Who is this busty lady in a low-cut dress? Marie antoinette? Victoria? And who is the author of the portrait depicting the Madonna and Child? Leonardo? Raphael?

In recent years, Sherman took up " They are dreamy, brooding and feminine.. This is already an accurate throw into the ring of feminism.

If retrospective, then to the fullest. After all, Sherman is an exquisite curator, which was proved by her participation in the main project of the 55th Venice Biennale.. The Crossing Views project is a dialogue with colleagues of 60 works by 20 authors from the collection of the foundation on the theme of the portrait and its interpretations in various media. Authors include Marina Abramovich, Christian Boltanski, Louise Bourgeois, Gilbert and George, Wolfgang Tillmans, Andy Warhol, Damien Hirst.

Source: theartnewspaper.