News of an upcoming exhibition of Cindy Sherman’s photography at the National Portrait Gallery, London, from the end of June to mid September. This is from the British Journal of Photography last year.
Huge Cindy Sherman retrospective goes on show at NPG next year
Titled Cindy Sherman, the exhibition will feature around 180 works, including the seminal series Untitled Film Stills. Shot from 1977-1980 in New York, the 70-strong series cemented both her reputation and her approach – manipulating her own appearance to explore the complex relationship between facade and reality.
Also on show will be all five of Sherman’s Cover Girl series, made in 1976 when she was a student, as well as more recent work such as Clowns and Society Portraits, plus material from her studio that gives an insight into her working process.
Interestingly, as The Art Newspaper explains, this is all Hitchcock’s doing.
Cindy Sherman gets first UK retrospective at the National Portrait Gallery
The photographer Cindy Sherman grew up in New York’s Long Island in the 1950s. She was a self-confessed “child TV addict”. Her parents would leave her at home to go to parties, and she would watch the same films on repeat. Her favourite childhood film, Alfred Hitchcock’s Rear Window, is “her blueprint,” the curator Paul Moorhouse says ahead of Sherman’s first retrospective in the UK, at London’s National Portrait Gallery. “That’s how I understand her work,” Moorhouse adds.
Sherman would repeatedly watch the wheelchair-bound Jimmy Stewart as he in turn obsessively observes his neighbours, attempting to fathom their lives via fragmentary visual glimpses. In adulthood, Sherman would quote Grace Kelly’s instruction to Stewart: “Tell me everything you saw—and what you think it means.”
“Sherman’s art poses the very same challenge,” Moorhouse says. “She invites us to see her and then work out what she means. She is pure appearance.”
She began in the 70s, but her work is still vital today.
Sherman succeeded in “expanding the definition” of portraiture by actively “presenting a false image”, Moorhouse says. And that makes her “almost uniquely current”.
“There’s a sacrosanct notion, a holy cow, in art history: that we can read a person’s character by looking at their face,” Moorhouse says. “We’re always looking at other people and trying to work out who they are. But the truth is we can never really tell. You can only interrogate their appearance.”
Understanding and exploring that tension lies at the heart of Sherman’s art, Moorhouse says. And this tension is ever more pressing when seen through the prism of social media and projected identity.
“No other artist interrogates the illusions presented by modern culture in such a penetrating way,” Moorhouse says. “Advertising, fake news, social media, even pornography—no other artist scrutinises so tellingly the façades that people adopt or our struggle to make sense of what’s presented to us via our cultural outposts.”