DALLAS, TX.- The Dallas Museum of Art
presents the acclaimed Cindy Sherman exhibition, a comprehensive survey of one of the most significant contemporary artists and arguably the most influential one working with photography. Known for photographing herself in a range of guises and personas that are by turns amusing and disturbing, distasteful and affecting, Sherman has built an international reputation for an extraordinary body of work.
unquestionably a historic occasion, praised the New York Times in its review. Dazzling, electrifying, and transfixing, declared the Wall Street Journal, the Financial Times and the Boston Globe. On view March 17 through June 9, 2013, the exhibition brings together some 160 key photographs, tracing Shermans career from the mid-1970s to the present.
Masquerading as myriad characters in front of her camera, Sherman has served as her own model for more than 30 years, constructing invented personas and tableaus. To create her photographs, she assumes multiple roles as photographer, model, art director, makeup artist, hairdresser, and stylist. Through her skillful guises, she has created an astonishing and continually intriguing variety of culturally resonant characters, from sexy starlet to clown to aging socialite.
The DMA has long been a champion of Cindy Shermans work, having participated in her first major survey in 1988, said Maxwell L. Anderson, The Eugene McDermott Director of the Dallas Museum of Art. We are so pleased to be exhibiting her work once again with this definitive and much-admired retrospective.
Throughout her career, Sherman has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity, the nature of representation, and the artifice of photography. Her works resonate with our visual culture, drawing from the unlimited supply of images from movies, television, magazines, the Internet, and art history. Today Sherman's work is the unchallenged cornerstone of postmodern photography.
Cindy Sherman is one of the most important artists working today in any medium, said Gabriel Ritter, The Nancy and Tim Hanley Assistant Curator of Contemporary Art at the Dallas Museum of Art, and curator of the Dallas presentation. Her work skillfully weaves together images from our collective consciousnessborrowing from the worlds of film, fashion, and art historyto reveal the infinite malleability of personal identity and to challenge our preconceived notions of photography itself.
Born in 1954 in Glen Ridge, New Jersey, Sherman received her BA from Buffalo State College and moved to New York City in 1977, where she has resided ever since. The exhibition showcases the remarkable range of Sherman's photography, from her early experiments as a student in Buffalo to her recent large-scale photographic murals, which are customized to fit each installation site. To avoid specific narrative association, Sherman rarely titles her work, but has consistently produced her photographs in series, which have informal names. The presentation examines some of the dominant themes prevalent throughout Sherman's work, such as artifice and fiction, cinema and performance, horror and the grotesque, myth and fairy tale, as well as gender and class identity.
A selection of ambitious and celebrated works will be highlighted, including a complete set of the seminal Untitled Film Stills (197780)70 black-and-white photographs that feature the artist in stereotypical female roles inspired by 1950s and 1960s Hollywood, film noir, and European art-house films, and all twelve of her centerfolds (1981). Selections from her significant series of works will also be featured, including: fairy tale/mythology (1985); history portraits (198890); sex pictures (1992); headshots (2000-02); clowns (200304); fashion (198384, 199394, 200708); and society portraits (2008). In addition, a large-scale, site-specific photographic mural from 2010 will be shown for the first time in four-parts in the Barrel Vault gallery alongside highlights of Shermans career.