The first solo show in Australia for 15 years, ‘Cindy Sherman’ curated by Ellie Buttrose, focuses on the artist’s practice from the early 2000s onwards. Now a mature artist, Sherman returns as the central subject representing an older generation of women. No small subject matter, Sherman’s practice embraces this head-on, with more than 50 large-scale works on display.
Examining the representation of older women in the media, as well as the everyday practice of becoming a woman, Sherman’s practice, as Buttrose states, “is about that idea of the masquerade we put on with a costume every morning before we go out – the gap between who we are and who we aspire to be.” Through her character studies she explores the social conventions adhered to by older women, as well as the changing attitudes of society and the camera towards them.
Taking centre stage at GOMA are the everyday women. A larger than life, immense five metre-tall mural will feature a cast of eclectic characters. Subverting social hierarchy, Sherman gives colour and prominence to a section of women that can normally go by unnoticed.
In a series of fashion collaborations with ‘Society portraits’ (2008), ‘Balenciaga’ (2007-2008) and ‘Chanel’ (2010-2013), Sherman represents the rich cross-section of women in society. Playing upon the unattainability of the fashion world’s campaigns, Sherman questions the status, class and unattainable perfection that is perpetuated by the industry.
In her collaboration with ‘Chanel’, Sherman dramatised the digitally edited perfection of fashion magazines, using Photoshop to amplify her imperfections like the bags under her eyes, shadows, wrinkles or the shape of her nose. Mimicking the way that fashion magazines often dress models in couture in ludicrous settings, Sherman, as Buttrose outlines, plays upon this outlandish idea, “as if the landscape is this rugged desolate place and the woman is this beautiful, fragile person.”
Do not be mistaken that Sherman is critical of the women she represents. What adds depth to her studies is the underlying tone of empathy from her own experience as a woman. With her recent 2016 series on display, at 62 years old Sherman’s practice is aware of the scrutiny of the camera and viewer at her own image.
An artist that is completely self-directed, through prosthetics and make-up, photography and more recently digital manipulation, Sherman whilst presenting a new age group, asks the ongoing relevant question of what do beautiful women look like?
Buttrose sums up the key to Sherman’s character studies, “she is asking the viewer – how do you see class and beauty every time you see an advertisement, a film or television? She is putting the images up for you to read. Her work is not the works that you see on the walls, it’s you catching yourself out as you make that judgement and reflecting on the judgement you make everyday.”
A telling exhibition of perception and representation, ‘Cindy Sherman’ presents a felt experience of identity and image, and the relationship between the two. In a digital age where images are only gaining in prominence in their influence, Sherman’s latest brush with the camera is as relevant as ever.
Queensland Art Gallery | Gallery of Modern Art
Until 3 October, 2016
Queensland
