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拍品專文
Throughout her career, Cindy Sherman has transformed herself into a multitude of characters in a profound exploration of the female identity and its representation in media culture. Playing all parts in creating her photographs, Sherman acts as model, stylist, set designer, and photographer, crafting each detail to fit with her vision. Sherman challenges the appeal and glamour of fashion images and by creating this theatrical, mysterious and manic character reveals a critique of the fashion industry. Although the performance aspect of Sherman's works creates a self-contained theatricality of make-up, costumes and props the end result is a powerful outward manifest of social critique.
The profile composition of Untitled (#101), 1982 portrays Sherman sitting languidly against a nondescript domestic background. Her posture is slouched, hands resting uneasily, as if waiting for an unknown visitor. Her distant gaze imparts a sense of vulnerable inward consciousness. Each anticipates that something is about to happen. This implied anticipation derives from the master of suspense, Alfred Hitchcock, who knew how to tease the viewer by delaying the exposure of the exogenic potential threat, thereby causing the subject to look inward and question whether the threat exists before the event occurs.
Created the year following Sherman's celebrated Centerfold series commissioned by Artforum the year prior, works created from this moment are among the most highly acclaimed portraits in Shermans oeuvre. Through the Centerfolds series in 1981, Sherman used the format of double page photo spreads from adult magazines to depict scenes that, rather than showing the expected sensuality called for by centerfold layout, underscored the vulnerability of the subjects. Following the exhibition, Sherman was invited to participate both in Documenta VII and the Venice Biennale.
The profile composition of Untitled (#101), 1982 portrays Sherman sitting languidly against a nondescript domestic background. Her posture is slouched, hands resting uneasily, as if waiting for an unknown visitor. Her distant gaze imparts a sense of vulnerable inward consciousness. Each anticipates that something is about to happen. This implied anticipation derives from the master of suspense, Alfred Hitchcock, who knew how to tease the viewer by delaying the exposure of the exogenic potential threat, thereby causing the subject to look inward and question whether the threat exists before the event occurs.
Created the year following Sherman's celebrated Centerfold series commissioned by Artforum the year prior, works created from this moment are among the most highly acclaimed portraits in Shermans oeuvre. Through the Centerfolds series in 1981, Sherman used the format of double page photo spreads from adult magazines to depict scenes that, rather than showing the expected sensuality called for by centerfold layout, underscored the vulnerability of the subjects. Following the exhibition, Sherman was invited to participate both in Documenta VII and the Venice Biennale.