User:EmilyAnderson25/Cindy Sherman

2000s[edit]
Between 2003 and 2004, Sherman produced the Clowns cycle, where the use of digital photography enabled her to create chromatically garish backdrops and montages of numerous characters. Set against opulent backdrops and presented in ornate frames, the characters in Sherman's 2008 untitled Society Portraits are not based on specific women, but the artist has made them look entirely familiar in their struggle with the standards of beauty that prevail in a youth- and status-obsessed culture.

Her exhibition at the Museum of Modern Art in 2012 also presented a photographic mural (2010–11) accompanied by films selected by Sherman. In this mural, she photoshopped her face with a decorative backdrop to transform herself into a fictitious environment. Along with other characters, Sherman toys with the idea of reality and fantasy together. Based on a 32-page insert Sherman did for POP using vintage clothes from Chanel’s archive, a more recent series of large-scale pictures from 2012 depict outsized enigmatic female figures standing in striking isolation before ominous painterly landscapes the artist had photographed in Iceland during the 2010 eruptions of Eyjafjallajökull and on the isle of Capri.

In 2017, she collaborated on a "selfie" project with W Magazine that was based on the concept of the "plandid," or "the planned candid photograph". Sherman utilized a variety of photo-correction apps to create her Instagram portraits. She has continued to upload photographs that she has distorted through photo editing apps, demonstrating how her artistic practices change with the times. The photographs consist of selfies that she has taken, and she then uses the photo editing options to contort and exaggerate her image and facial features in ways that appear inhuman and even grotesque. In contrast to her typical photographed self-portraits, her Instagram selfies do not emulate tropes or characters as explicitly. Rather, the use of photo editing reflects on the ways in which social media influences the way people present themselves and parts of their identities. More specifically, Sherman uses this new medium to continue her exploration of gender expectations and stereotypes that have been a recurring theme throughout her work.

From 2019 she showed self-portraits executed as tapestries by a Belgian workshop.

Exhibitions[edit]
A work by Sherman displayed in the Wexner Center for the Arts Sherman's first solo show in New York was presented at a noncommercial space The Kitchen in 1980. When the Metro Pictures Gallery opened later that year, Sherman's photographs were the first show. "Untitled Film Stills" were shown first at the non-profit gallery Artists Space where Sherman was working as a receptionist. Her first solo exhibitions in France were presented by Galerie Chantal Crousel in Paris.[citation needed]

Sherman has since participated in many international events, including SITE Santa Fe (2004); the Venice Biennale (1982, 1995); and five Whitney Biennials. In addition to numerous group exhibitions, Sherman's work was the subject of solo exhibitions at the Stedelijk Museum in Amsterdam (1982), Whitney Museum of American Art in New York (1987), Kunsthalle Basel (1991), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1995), the San Francisco Museum of Modern Art (1998), the Serpentine Gallery in London and the Scottish National Gallery of Modern Art (2003), Martin-Gropius-Bau in Berlin (2007), Kunsthaus Zurich (2014), Queensland Gallery of Modern Art (2016), Fosun Foundation in Shanghai (2018), Metro Pictures Gallery in New York (2020), and Foundation Louis Vuitton in Paris (2021), among others. Major traveling retrospectives of Sherman's work have been organized by the Museum Boymans-van Beuningen in Rotterdam (1996); the Museum of Contemporary Art, Los Angeles and the Museum of Modern Art in New York (1997), which was sponsored by Madonna; and Kunsthaus Bregenz, Austria, Louisiana Museum for Moderne Kunst, Denmark, and Jeu de Paume in Paris (2006–2007). In 2009, Sherman was included in the seminal show "The Pictures Generation, 1974–1984" at the Metropolitan Museum of Art.