-Joan Bowlen The portrait has consistently been a source of political, social, and emotional power throughout art history.  The towering trompe d’oils that littered halls and council rooms of the social elite perpetuated a sense of the sitter’s wealth at being able to commission such a display of material wealth and the generational collection of […]

A Potential Third Dimension? Cindy Sherman In Between Modernism and Postmodernism

October 5, 2008 | Comments Off on A Potential Third Dimension? Cindy Sherman In Between Modernism and Postmodernism

by Peter Zimmerman The following essay is based on a reading of a 1981 feature by Andy Grundberg on the work of Cindy Sherman: Cindy Sherman: A Playful and Political Post-Modernist By Andy Grundberg Published  November 22, 1981 Grundberg, in opening his article on Cindy Sherman, presents a broad look at the history of Modernist […]

Photographic Analysis: “Untitled #72” (1980)

September 30, 2008 | Comments Off on Photographic Analysis: “Untitled #72” (1980)

Cindy Sherman, “Untitled #72” (1980) by Peter Zimmerman In 1980, Cindy Sherman chose to finish the Untitled Film Stills series, feeling that she had exhausted much of her subject material and had begun repeating herself. Because the photographs evoke such great nostalgia for the 1950s, mysterious European film stars, urban lifestyle, and stylized cinematic expanses, […]

Body Language: The Presence and Absence of Cindy Sherman and Sherrie Levine, 1975-1987 Perhaps one of the most overlooked series in Cindy Sherman’s oeuvre is a photographic travelogue throughout her childhood, adolescence and early adulthood. Titled “A Cindy Book (c.1964-1975),” the collection brings together pictures from vacations, school activities (prom, sporting events, class photos, etc.), […]

« go back