WANAFOTO: Cindy Sherman

Showing posts with label Cindy Sherman. Show all posts

03/09/25

From Cindy Sherman’s pied-à-terre in Paris. Designed by Laplace - Vente aux enchères @ Piasa, Paris

From Cindy Sherman’s pied-à-terre in Paris. Designed by Laplace

Vente aux enchères

Piasa, Paris

2 octobre 2025

Karl Lagerfeld (1933-2019)

Portrait de Cindy Sherman, 2014

Tirage noir et blanc

Signé, daté et dédicacé : “with love” en bas à droite

Estimations : 2 000 / 3 000 €

La maison de ventes aux enchères PIASA propose à la vente l’intérieur du pied-à-terre parisien de l’artiste américaine Cindy Sherman, conçu et aménagé par Laplace, cabinet d’architecture internationalement reconnu.

« Concevoir cet appartement pour Cindy Sherman a été un dialogue créatif passionnant. Nous avons cherché à traduire son univers visuel en un espace harmonieux, à la fois intemporel et audacieux » ont déclaré Luis Laplace & Christophe Comoy.

Mobilier moderniste, oeuvres d’art contemporain, pièces de design rares, mode et luxe témoignent d’une sensibilité partagée pour l’élégance, la culture visuelle et l’expérimentation des formes.

La vente « From Cindy Sherman’s pied-à-terre in Paris. Designed by Laplace » consacrée à la dispersion de l’intérieur de l’appartement parisien de l’artiste américaine Cindy Sherman révèle une collaboration créative unique entre la plasticienne conceptuelle et le duo Luis Laplace et Christophe Comoy.

Sarah Charlesworth (1947-2013)

A simple Text (White Flowers), 2005

Tirage Cibachrome et cadre laqué

Tampon de l’artiste en bas à droite

Numéroté au dos sur une étiquette : “3/8”

Édition de 8 exemplaires, 105 × 80 cm

Provenance : Baldwin Gallery, Aspen

Estimations : 5 000 / 7 000 €

Bjarne Melgaard (né en 1967)

Sans titre (panthère rose), 2013

Acrylique, cristaux, quartz, roche de sel, sucre,

tenture, colle et écorce sur panneau de bois

86 × 110 × 4 cm

Provenance : Gavin Brown’s entreprise, New York

Estimations : 10 000 / 15 000 €

« La première fois que je me suis réveillée dans cet appartement parisien, tout ce que j’avais, c’était un lit et des draps », confiait l’artiste au magazine AD France en 2013. « Je pensais en savoir assez sur moi-même pour créer mon propre espace de vie, mais j’ai vite réalisé le temps incommensurable que cela prend. » Son amie, l’architecte Annabelle Selldorf, lui recommande Laplace au début des années 2000.

Le design n’est pas étranger à l’artiste : ses « anti-portraits » sont souvent mis en scène dans des décors où le mobilier et les objets jouent un rôle déterminant dans la construction de ses personnages — le salon de son appartement new-yorkais, reconstitué pour Untitled Film Still #50 (1979), éclaire de manière significative cette dimension de son travail. « Elle est très au fait de ce qui se passe en architecture et en décoration, confirme le duo. Sa culture du design est impressionnante. »

Chris Garofalo (née en XXe)

‘Enchinodermata Dichroic’, 2007

Porcelaine émaillée

Pièce unique, H 22 × Ø 16 cm

Estimations : 1 500 / 2 000 €

Arne Norell (1917-1971)

Paire de fauteuils – Modèle ‘Pilot’

Hêtre et cuir

Édition Norell möbel AB

Modèle créé vers 1960

H 95 × L 78 × P 79 cm

Estimations : 2 500 / 3 500 €

Cindy Sherman est rapidement séduite par la ligne adoptée par le cabinet d’architecture, qui se caractérise par un style moderniste et international, adouci par un glamour chic très parisien. Dans le salon, face à la cheminée, un large canapé courbe italien dialogue avec deux fauteuils des années 1960 garnis de tissu jaune. Sur la table basse, deux céramiques de la sculptrice américaine Chris Garofalo. Dans la salle à manger, six chaises signées par le designer italo-brésilien Guglielmo Ulrich, font écho à une paire de fauteuils Pilot du Suédois Arne Norell et à deux consoles dans le goût de Marc du Plantier sur lesquelles reposent deux vases en verre de Murano de Massimo Micheluzzi.

Travail français (XXe)

Paire de consoles

Fer et marbre

Modèles créés vers 1940

H 75,5 × L 125 × P 60 cm (chaque)

Estimations : 4 000 / 6 000 €

Joaquim Tenreiro (1906-1992)

Bureau

Imbuia et marbre

Édition Tenreiro Movéis e Decoraçoes

Étiquette de l’éditeur sous le plateau

Modèle créé vers 1960

H 75 × L 140 × P 75 cm

Estimations : 8 000 / 12 000 €

Lors de leur rencontre avec l’artiste, Luis Laplace et Christophe Comoy rentrent d’un voyage en Afrique de l’Ouest avec des échantillons de tissus traditionnels. Cindy Sherman se passionne pour les couleurs de ces grandes bandes de coton waxé, qui deviennent les rideaux de ses fenêtres.

La suite de la vacation est consacrée aux objets personnels de la photographe, dont la fameuse Malle Studio, réalisée pour les 160 ans de la toile Monogram de Louis Vuitton, soutien indéfectible de l’artiste depuis ses débuts (50 000 / 70 000 €).

Louis Vuitton et Cindy Sherman

Exceptionnelle Malle studio, 2014

Serrures, renforts et clous en laiton poli vif

Poignées de type ‘Oreilles d’éléphant’ en vache naturel

Dimensions fermées : 102 × 61 × 53 cm

Estimations : 50 000 / 70 000 €

En 2014, pour fêter les 160 ans de la toile monogram, la société Louis Vuitton demande à 10 artistes emblématiques de leur époque de créer un objet Vuitton. L’artiste américaine Cindy Sherman conçoit alors cette exceptionnelle malle studio. L’extérieur en toile enduite monogrammée agrémenté de fac-similé de photo montage de Cindy Sherman représentant l’artiste. Il a été produit de ce modèle 25 pièces entre 2014 et 2017 toutes numérotées sur un cartouche en cuir à l’intérieur du capot. Le modèle présenté à la vente porte le numéro 2/25.

Leica

Leica X2 - Gagosian Gallery

Édition limitée à 100 exemplaires réalisée en 2013

Appareil photo de type X2

APS-C-format CMOS 16.5 megapixel

sensor Métal, cuir blanc et éclaboussures de peinture noire

Étui de protection en autruche noire

(vendu avec ses chargeurs et accessoires divers)

Estimations : 1 000 / 1 500 €

Rimowa

Valise en alluminium

Signée au feutre par Cindy Sherman

60 × 40 × 25 cm

Estimations : 1 000 / 1 500 €

A PROPOS DE CINDY SHERMAN

Née en 1954 à Glen Ridge, dans le New Jersey, Cindy Sherman est une figure majeure de l’art contemporain, reconnue pour son oeuvre photographique explorant les questions d’identité, de genre, de représentation et de stéréotypes. Elle se fait connaître à la fin des années 1970 avec sa série fondatrice Untitled Film Stills, dans laquelle elle se met en scène sous les traits de personnages féminins inspirés des archétypes du cinéma, des médias ou de l’histoire de l’art. Depuis plus de quarante ans, elle construit une oeuvre radicale en se transformant sans cesse, brouillant les frontières entre sujet et objet, fiction et réalité. Par le biais du maquillage, du costume, de la photographie et du décor, elle interroge la fabrication de l’image et les codes sociaux qui façonnent notre perception de soi et des autres. Présente dans les collections des plus grands musées du monde, Cindy Sherman a marqué profondément l’histoire de la photographie et continue d’influencer de nombreuses générations d’artistes.

A PROPOS DE LAPLACE

Luis Laplace, architecte franco-argentin, dirige le cabinet Laplace à Paris aux côtés de son cofondateur et CEO Christophe Comoy. Reconnus internationalement pour la création d’espaces culturels et la réhabilitation de sites historiques d’exception, ils ont bâti ensemble une réputation fondée sur la modernité, la simplicité et une profonde sensibilité au patrimoine. Parmi leurs réalisations majeures : la galerie Hauser & Wirth à Paris, un centre d’art primé dans une ferme du XVIIIe siècle dans le Somerset, et un autre à Minorque, aménagé dans un ancien hôpital militaire, récompensé par Europa Nostra. Le duo a également supervisé la restauration du Chillida Leku à Saint-Sébastien, et conçu l’exposition « Chillida à Minorque » en 2024, mettant en valeur la pierre locale marès. En 2025, après sept ans de collaboration avec la Fondation Guston, ils restaurent une fresque historique au Mexique. Collaborant régulièrement avec des artistes comme Rashid Johnson, Laplace et Comoy défendent une approche holistique, sensible au contexte local, alliant modernité, simplicité et émotion. Leur architecture vise à créer des espaces durables, porteurs de sens et de mémoire.

PIASA

118 rue du Faubourg Saint Honoré 75008 Paris

www.piasa.fr

23/06/25

Cindy Sherman. The Women @ Hauser & Wirth Menorca

Cindy Sherman. The Women

Hauser & Wirth Menorca

23 June – 26 October 2025

Cindy Sherman

Untitled #566

2016

Dye sublimation metal print

121.9 x 128.3 cm / 48 x 50 1/2 in

Courtesy the artist and Hauser & Wirth

Cindy Sherman

Untitled Film Still #6

1977

Gelatin silver print

25.4 x 20.3 cm / 10 x 8 in

Courtesy the artist and Hauser & Wirth

Cindy Sherman is globally renowned for her exploration of identity and gender through the performance of meticulously observed personas for the camera. For her first solo exhibition in Spain in over two decades, ‘Cindy Sherman. The Women’ features a selection of the artist’s most iconic bodies of work, dating from the 1970s to 2010s, emphasising how Sherman revolutionized the role of the camera in artistic practice.

The exhibition includes the groundbreaking Untitled Films Stills (1977 – 1980), through which Sherman came to widespread attention as one of the ‘Pictures Generation’ artists who gained prominence in the 1970s and ‘80s responding to the age of mass media and celebrity. This pivotal series will be juxtaposed with Sherman’s large-format portrayals of film stars, starlets, society women and fashionistas from various series made over subsequent decades, addressing the layered presentation and public perception of femininity. One of the central galleries will be dedicated to the Bus Riders and Murder Mystery series, and other early works that pre-date the Film Stills, not publicly displayed until 2000, illustrating Sherman’s detailed observations of American society and the starting point for themes and methods that were to develop throughout her career. The range of works on view offer a rare presentation of Sherman’s enduring concern with the interaction between female roles and images, and the gaze(s) to which women are relentlessly subjected. Through her work she points to the way women exist in society as an image of themselves.

‘Cindy Sherman. The Women’ takes its title from the 1936 all-female hit play by Clare Boothe Luce, a merciless ensemble piece about women’s interactions with women, of their own and different classes, and of different appearances. Twice made into feature films (1939 and 2008), it is exemplary of the genre of classical Hollywood ‘women’s film’ around which feminist film theory was formed. Moreover, not only the characters in her play but Boothe Luce herself is representative of the multifarious kinds of femininities explored by Cindy Sherman. As the 20th-century cult of fame and celebrity has transitioned into the 21st-century context of influencers and social media stars, Sherman’s deconstructions of gender, wealth and privilege remain of acute relevance. Sherman’s work reveals to us the degree to which we all construct and perform our identities; each iteration of her performance is a new and unique character. Through these images she has become the leading exponent of the subgenre which combines performance with photography, drawing our attention to the fact that identity is complex, constructed and performed.

The layers of media are important in this picture of complexity; the role of film, fashion, magazines and classical portrait photography is part of the subject matter. In the Ominous Landscape images from 2010, elaborately dressed female figures stand against vast and inhospitable landscapes. The figures seem eerily displaced, digitally superimposed on island landscapes shot on Capri, Stromboli, Iceland and Shelter Island, New York; now they are shown on an island within an island, Illa del Rei in Menorca. This series of photographs evolved from an editorial project for Pop magazine, featuring clothes and accessories chosen by Cindy Sherman from the Chanel archives. The garments range from 1920s haute couture designed by Coco Chanel herself to contemporary creations by Karl Lagerfeld. The sumptuous costumes create a striking contrast with the bleak intensity of the surrounding landscapes, whilst the female figures loom larger than the surrounding natural world in a reversal of the Romantic hierarchy.

Cindy Sherman

Untitled #550

2010/2012

Chromogenic color print

153 x 302.3 cm / 60 1/4 x 119 in

Courtesy the artist and Hauser & Wirth

It was from this project that the Flappers series developed from 2016 to 2018, focusing on the young women who challenged social norms and fashions in the 1920s as a form of empowerment, emancipation and radical modernity, some emulating Hollywood stars, who pose in glamorous attire with heavy and stylised makeup. The series also addresses aging; however, the protagonists are shown decades from their heyday seemingly unaware they are past their prime. Nevertheless, Sherman’s depictions seem more nuanced and sympathetic than the harsh image of Norma Desmond, the archetypal deluded silent-era actress in Sunset Boulevard.

Cindy Sherman had previously worked on series addressing women of social standing and the aging process, works from which feature in the exhibition. These include one of the exceptionally grandiose Society Portraits from 2008, in which Cindy Sherman introduced ornate frames and experimented with a green screen to create fantasy environments for women of the upper echelons of society. Such backdrops heighten the isolation of the characters Cindy Sherman portrays and focus attention on the heavily made-up women absorbed by their wealth and status. She later adopted the personas of socialites and fashionistas in a commission for Harper’s Bazaar in 2016, making a series of images of women in designer clothes and accessories, within various landscape settings. In these works, she experimented with multiple exposures to duplicate the women depicted, suggesting a fractured and unstable sense of identity.

A selection of the iconic Untitled Film Stills sits at the centre of the exhibition, a series of black-and-white photographs originally conceived as a group of imaginary film stills from a single actress’s career. Inspired by 1950s and ‘60s Hollywood, film noir, B movies and European art-house films, Sherman’s plethora of invented characters and scenarios imitated the style of production shots used by movie studios to publicize their films. The images are evocative of certain character types and genres, but always intentionally ambiguous, leaving room for the viewer to imagine their own narratives, and even insert themselves into the work.

Pre-dating the Film Stills, are works from Sherman’s Bus Riders and Murder Mystery series, both created in 1976, and a selection of the Line Up images, made in 1977, all while she was still a student at Buffalo State College in upstate New York. Highlighting the foundations of Sherman’s conceptual thinking, the ‘Bus Riders’ embody a range of cultural stereotypes and everyday personalities across American society, harnessing poses, clothes and facial expressions that bring familiar characters to life. In contrast, the ‘Murder Mystery’ and ‘Line Up’ series have a decided staginess and overt theatricality, and even a deliberate melodrama, to the characters and poses. In some, the act of photographing is made visible through the capturing of the cable-release and the marks on the studio floor; here, Sherman is pointing to her medium and exposing her process as part of the act of creation. In these very early series Sherman was working through the process of adopting different personas and merging the role of photographer, model and storyteller.

Throughout her career, Sherman’s relentless focus on the diversity of womanhood emphasises the play of difference rather than sameness within gender categories, making the idea of womanhood expansive rather than restrictive.

Cindy Sherman

Untitled Film Still #24

1978

Gelatin silver print

20.3 x 25.4 cm / 8 x 10 in

Courtesy the artist and Hauser & Wirth

Cindy Sherman

Untitled (the actress at the murder scene)

1976/2000

Gelatin silver print

25.4 x 20.3 cm / 10 x 8 in

Courtesy the artist and Hauser & Wirth

ARTIST CINDY SHERMAN

Born in 1954 in Glen Ridge NJ, Cindy Sherman lives and works in New York NY. Her groundbreaking work has interrogated themes around representation and identity in contemporary media for over four decades. Coming to prominence in the late 1970s with the Pictures Generation group—alongside artists such as Sherrie Levine, Richard Prince and Louise Lawler—Sherman first turned her attention to photography at Buffalo State College where she studied art in the early 1970s. Utilising prosthetics, theatrical effects, photographic techniques and digital technologies, she has channelled and reconstructed familiar personas known to the collective psyche, often in unsettling ways, and has explored the more grotesque aspects of humanity through the lens of horror and the abject.

Recent solo exhibitions include FOMU Fotomuseum Antwerp, ‘Cindy Sherman. Anti-Fashion’, Antwerp, Belgium (2024); Museum of Cycladic Art, ‘Cindy Sherman at Cycladic: Early Works’, Athens, Greece (2024); Photo Elysée, ‘Cindy Sherman’, Lausanne, Switzerland (2024); Espace Louis Vuitton Seoul, ‘Cindy Sherman. On Stage – Part II’, Seoul, Korea (2024); The Serralves Foundation, ‘Cindy Sherman. Metamorphosis’, Porto, Portugal (2022); National Portrait Gallery, ‘Cindy Sherman’, London, UK (2010), Fondation Louis Vuitton, ‘Cindy Sherman’, Paris, France (2010).

Also on view at Hauser & Wirth Menorca:

Mika Rottenberg. Vibrant Matter

Through 26 October 2025

HAUSER & WIRTH MENORCA

Illa del Rei, Mahon, Menorca, Balearic Islands, Spain

www.hauserwirth.com

26/03/25

On Ugliness: Medieval and Contemporary @ Skarstedt London - A rare convergence of paintings, sculptures and photographs spanning the twelfth century to the present day

On Ugliness

Medieval and Contemporary

Skarstedt London

February 27 – April 26, 2025

Skarstedt London presents On Ugliness: Medieval and Contemporary, a rare convergence of paintings, sculptures and photographs spanning the twelfth century to the present day. Taking its title from Umberto Eco’s seminal publication On Ugliness, this curated presentation examines the grotesque as a universal theme, tracing its evolution across a millennium of artistic output. Four medieval stone heads form the crux of this exhibition, their contorted faces- ranging from grimaces to sneers- serve as a touchstone throughout art history and play a formative role in contemporary interpretations of the grotesque.

The exhibition features work by George Condo, Nicole Eisenman, Jameson Green, Martin Kippenberger, Barbara Kruger, Jacob de Litemont, Pablo Picasso, Stefan Rinck, Pensionante del Saraceni, Cindy Sherman, Thomas Schütte and a selection of unknown artists working between the twelfth and fourteenth centuries.

Although the grotesque has been dismissed and deplored by various critics over the past millennium, it remains a recurrent fascination, continuously re-imagined by each generation. As a result, its etymology is in constant flux. Some argue that the grotesque is a collective tool for conceptualising difference and change, while others see it as a means of liberation, freeing the artist from earthly constraints. Regardless of the motif or iconography, the grotesque reveals aspects of the world that elude comprehension, therefore our experience of the genre should result in bafflement.

The most prevalent expression of the grotesque is through metamorphosis or hybridity – a motif discovered in the Roman Emperor Nero’s Villa Aurea upon its excavation in the fifteenth century. The ornamental scenes, later dubbed grottesche (‘from a cave’) captivated artists from Raphael to Pablo Picasso, who revelled in hybridity - first understood through his early proto-cubist works. During this period, he experimented with fragmentation and metamorphosis as exemplified in Tête de femme (1908), an exquisite drawing inspired by African and Iberian artefacts. Similarly, Nicole Eisenman explores corporeal distortion in Maquette: Sketch for a Fountain (Reclining Figure) (2019), where the figure’s exaggerated limbs merge into an amorphous whole. Whilst not traditionally beautiful, Eisenman imbues a serene reverie into the figure, originally conceived for a body of water.

George Condo and Jameson Green embrace metamorphosis, using it as a vehicle for anthropological exploration. Condo’s self-declared 'psychological cubism' dissects the human psyche through fragmentation and distortion, revealing its most sensitive aspects. In Study for Metamorphosis I (2006), the protagonist possesses an undeniably human spirit despite her animalistic appearance, while the compositional techniques pay homage to portraiture masters like Rembrandt and Velazquez. On the other hand, Jameson Green’s Head Study #26 (2024) is morphed beyond recognition, using an imagined hybrid creature to confront the challenging themes of racism and corruption.

The grotesque is deeply rooted in art history, yet it defies the ideals of harmony, proportion, and beauty. This is epitomised by Thomas Schütte’s landmark Wicht series (2006), a collection of twelve grotesque heads, of which one is featured. The bronze head, mounted high on a steel console, explores the complexities of the human condition, recalling the distorted medieval stone heads included in this exhibition. Often tucked under roofs, cornices, or atop columns in ecclesiastical buildings, these grotesque heads contrast with the serene saints and apostles that adorn the same spaces. Their exaggerated expressions lend them an air of irreverence, prompting James Lingwood to compare Schütte’s Wicht figures to ‘gargoyles looking down from the sides of medieval cathedrals.’[1] While their original purpose remains uncertain, some scholars interpret them as marginal jokes, lightening the solemnity of religious settings, others view them as caricatures or evil spirits. Regardless of intent, they have been described as ‘the most original physiognomic inventions of the art of the Middle Ages.’[2]

Stefan Rinck’s small-scale contemporary carvings engage with this same grotesque tradition, echoing the hybrid, exaggerated forms of the medieval heads. Carved from natural materials like sandstone or diabase, Rinck’s sculptures mimic the rough-hewn textures of their medieval counterparts, instilling a sense of permanence in his creations. His practice also draws on medieval illustrated encyclopaedias known as bestiaries, which catalogue real and imaginary animals, further rooting his work in the visual and conceptual language of the Middle Ages.

During the medieval period, expressive faces were linked to sin, while an ordered, expressionless face reflected discipline and morality. Conversely, Renaissance and Baroque artists sought to capture the essence of the individual, often at the expense of beauty. With the rise of humanist philosophy in the fourteenth century, the artistic focus shifted from the divine to the human epitomised through an exceptionally rare portrait of King Louis XI of France (circa 1469), attributed to Jacob de Litemont. King Louis XI’s profile is starkly contrasted against a dark background, with his regal status signified by a rich red velvet robe. Nevertheless, his face is unidealised, marked by a crooked nose, heavy features, and baggy eyes. Devoid of flattery, this harsh portrayal reflects the period’s tendency to depict sovereigns with a ‘disarming and intimate sincerity.’[3] The shift towards naturalism intensified in the seventeenth century with Caravaggio’s radical use of live models and violent scenes. Followers like Pensionante del Saraceni (active in Rome circa 1610) emulated his work, particularly in A Boy Being Bitten by a Freshwater Crayfish, embracing his aptitude for theatrical, violent imagery.

The transition towards naturalism paved the way for social satire, as seen in the works of Martin Kippenberger, Cindy Sherman, and Barbara Kruger. Developed in the nineteenth century, it remained a potent force in fine art and popular culture, influencing Kippenberger’s sardonic critique of the artist and art market. His provocative sculpture Fred the Frog Rings the Bell (1990) depicts a crucified frog, his alter-ego, externalising the existential anxiety of exhibiting one’s work. While Kippenberger’s grotesque satire reflects personal turmoil, Sherman and Kruger use unsettling imagery to explore identity politics. In Untitled #140 (1985) from the Fairy Tale series, Cindy Sherman transforms into a pig, exposing what lies behind a polished façade. The self, she suggests, is a stage, shaped through metamorphosis. On the other hand, Barbara Kruger’s Untitled (Striped 2) (2019) overlays a disturbed male face with declarative statements, using monumental scale and advertising techniques to expose the power structures behind identity, desire, and consumerism.

Each work on view simultaneously delights and disgusts, confronting the viewer with distorted faces, surreal imagery, and hybrid forms, oscillating between the hellish and the carnivalesque. On Ugliness highlights the power of the grotesque to defy artistic conventions through exaggeration, fragmentation, and metamorphosis—an enduring genre that has captivated civilisations throughout history.

[1] James Lingwood, quoted in Public/Political: Thomas Schütte, Germany 2012, p. 157.

[2] C. Little, Set in Stone: The Face in Medieval Sculpture, New Haven and London, Yale University Press, p.5.

[3] J. Dupont, ‘A Portrait of Louis II Attributed to Jean Perréal’, The Burlington Magazine, 1947, vol. 89, p. 236.

SKARSTEDT LONDON

8 Bennet Street, London SW1A 1RP

www.skarstedt.com

16/02/25

"Self-Portraits" Exhibition @ Skarstedt Paris

Self-Portraits

Skarstedt Paris

February 13 – March 29, 2025

Skarstedt Paris presents Self-Portraits, an exhibition that delves into the multifaceted nature of self-portraiture, exploring its significance as a means of self-expression throughout the twentieth and twenty-first centuries. Whether rendered in traditional or groundbreaking modes, each work on view delves into the paradoxes, nuances, and idiosyncrasies that make each identity unique, thereby connecting the artist’s individual ethos with universal values and themes.

Across the exhibition, the boundaries of self-representation dissolve into bold experimentation, where themes of transformation, temporality, and vulnerability intertwine. Jean Dubuffet’s Self-portrait from 1966, one of the six he ever made, would become the cover image of the Pompidou retrospective in 2001. It is part of the L’Hourloupe series, a cycle that sets a creative protocol between 1962 to 1974, a veritable exploration of a new language that touches on all artistic spheres explored by the French artist. Using sinuous, labyrinthine graphics, Jean Dubuffet composed schematic spaces like constructs of the mind. The surreal and the introspective converge in André Masson’s Le Voyant - Ville Crânienne (1940), a poetic synthesis of ink and gouache that evokes the fractured nature of identity as seen through a surrealist lens. The self emerges as both seer and subject, a fragment of the subconscious shaped by unseen forces. This notion of transformation continues in the conceptual play of Cindy Sherman, whose Untitled Film Still #24 (1978) disrupts the idea of self-portraiture as truth-telling. By embodying various personas through costumes and cinematic framing, Cindy Sherman dissolves herself into archetypes, exposing the performative masks society demands and the fluidity of personal identity. Martin Kippenberger's Untitled (1992), part of his series of Hand Painted Pictures, interrogates the conventions of self-portraiture by embracing irony and subversion, presenting the artist's identity as a fractured, performative construct. Through a deliberate amalgamation of self-deprecation and painterly virtuosity, Martin Kippenberger critiques the commodification of the artist's persona while questioning the authenticity of self-representation itself.

Georg Baselitz, by inverting his figure in Der Anfang ist der Abgang (The Beginning is the Departure) (2017), offers a meditation on the destabilization of the self. His deliberate subversion of form mirrors the psychological disorientation of self-reflection, confronting mortality and the inexorable passage of time. Similarly concerned with the interiority of human experience, Eric Fischl invites viewers into a deeply introspective yet playful meditation on the act of self-representation in Cat ‘n Hat (2024). By positioning himself in a jester’s hat, Eric Fischl underscores the inherent absurdity of the artist’s role—laying oneself bare before an audience through the act of painting. This duality, at once vulnerable and self-aware, reflects the paradox of creation as both an intimate exposure and a performative gesture, where humor becomes a defense against the weight of self-examination.

More than fifty years earlier, Pablo Picasso articulated his anxieties regarding his place within the art historical canon through works such as Buste d’Homme (1964), produced during a prolific period of introspective self-portraits that utilize a pared-down style to express the urgency of his feeling in his later years that he had “less and less time, and…more and more to say.”[1] Similarly, Francis Bacon’s late Study for Self-Portrait (1979) uses intense light and shadow to highlight the creases along his forehead and other visible signs of age, investigating himself as a means of simultaneously investigating the human condition, traumas, and violence. Turning to self-portraiture “because [he] had nobody else left to paint,”[2] this intimately-scaled work questions at what degree of distortion the work can still be a representation of the self. Juan Gris’s Autoportrait (1911-1912), rendered in the language of Cubism, deconstructs and reassembles the figure into facets of geometry. The fractured planes not only speak to the multiplicity of the self but also to the structural interplay between form and meaning in modernist art.

The tactile intensity of Frank Auerbach’s layered compositions further complicates notions of self. His visceral approach to works like Self-Portrait II (2024) transforms the portrait into a locus of memory, each mark carrying the weight of time’s erosion on identity. Similarly, Chantal Joffe’s vibrant palette and bold brushwork in a new painting imbue her portrayals with a raw immediacy and a diaristic quality that captures the precarious balance between strength and fragility, echoing themes of femininity, motherhood, and self-examination. Louis Fratino likewise fills his canvases with a quiet familiarity, using the queer body as a mirror for the vastness of memory and emotional expression. Throughout the 1980s, Robert Mapplethorpe also reflected his commitment to themes of gender expression. In Self-Portrait (1980), we find him draped in a luxurious fur coat, exuding an elegance in the style of Rrose Sélavy, Marcel Duchamp’s alter ego, whose playful fluidity of gender and self-reinvention are echoed by Mapplethorpe in a manner that suggests Robert Mapplethorpe’s rejection of traditional binary definitions of gender.

Through the subversive materiality of grease and pigment, David Hammons challenges the very medium of portraiture. His Untitled (circa 1970) resists conventional depictions of identity, offering instead an enigmatic interplay of texture and absence that critiques cultural and societal narratives, particularly as they relate to race in America. In making his body both the image and material of the work, David Hammons literally gives his viewers a reflection of his experience as a Black man in America. These themes continue in Untitled (SAMO) (1981) by Jean-Michel Basquiat. With its economy of means, Jean-Michel Basquiat conveys the reality of his place in American society and the visceral emotions that accompany it. His refusal to depict his true likeness in preference of a mask-like figure gets to the heart of self-portraiture’s role as a personal mode through which to explore identity, culture, and posit one’s own social commentaries. In making himself appear almost as an African mask, his experiences as a man of color in 1980s America act as proxy for the universal experiences of others like him.

Together, these artists reveal the self as a site of tension and transformation—a space where cultural, personal, and artistic identities collide and evolve. The works in Self-Portraits invite viewers to explore the shifting terrain of representation, where each artist unearths the essence of individuality within the universal human experience.

[1] Pablo Picasso quoted in Marie-Laure Bernadac, Late Picasso: Paintings, sculpture, drawings, prints 1953-1972 (London: Tate Publishing, 1988), 85.

[2] Francis Bacon, quoted in David Sylvester, Interviews with Francis Bacon (London: Thames & Hudson, 2016), 150.

SKARSTEDT PARIS

2 Avenue Matignon, 75008 Paris

www.skarstedt.com

14/12/23

Cindy Sherman: Anti-Fashion @ Falckenberg Collection, Hamburg-Harburg

Cindy Sherman: Anti-Fashion

Falckenberg Collection, Hamburg-Harburg

7 October 2023 - 3 March 2024

Cindy Sherman

Untitled #133, 1984

Cindy Sherman

Untitled #410, 2003

Privatbesitz

Cindy Sherman

Untitled #462, 2007/2008

Privatsammlung Europa

The American artist Cindy Sherman (*1954 in New Jersey) is one of the most important and internationally successful contemporary artists. In her photographs, she stages herself in a wide range of roles that skewer entrenched ideals and stereotypes in a manner that is as playful as it is critical. Cindy Sherman finds inspiration in various forms of visual culture: cinema, television, advertising, magazines, art history, fairy tales, the Internet, and social media act as catalysts for a multifaceted body of photographic work in which fashion is a constant.

With around 50 works spanning five decades, the exhibition ANTI-FASHION takes an in-depth look at the fascinating dialogue the artist maintains with the fashion world. Since the 1980s, Cindy Sherman has been drawing on a number of commercial commissions from renowned fashion houses and designers such as Chanel and Stella McCartney as well as international fashion magazines such as Vogue and Harper’s Bazaar as a constant source of inspiration. By the same token, the artist influences and stimulates the aesthetics of the fashion world and continues to inspire an entire generation of photographers.

Cindy Sherman

Untitled #588, 2016-2018

Cindy Sherman

Untitled #602, 2019

Sammlung Gilles Renaud

Cindy Sherman’s provocative photographs do not convey the glamour, sex appeal, or elegance that we commonly associate with fashion. Instead, they show characters that are anything but desirable and run counter to the fashion world ideals of flawlessness. Last, but by no means least, the exhibition reveals the subject of fashion as the starting point for the artist’s critical examination of aspects of identity, sex, gender, and age. Sherman’s myriad characters demonstrate the artificiality and mutability of identity, which appears – now more than ever – to be selectable, (self-)constructed, and fluid.

With national and international loans as well as exclusively selected material from the artist’s New York archive, the exhibition is the first to be devoted to the subject of fashion in Cindy Sherman’s work.

The show is accompanied by a selection of photographic and artistic positions from the Falckenberg Collection – including works by John Baldessari, Karla Black, Monica Bonvicini, Richard Prince and Robert Longo.

The exhibition was curated by Dr. Alessandra Nappo, Staatsgalerie Stuttgart and realized by the Staatsgalerie Stuttgart in cooperation with Cindy Sherman’s studio in New York and her gallery Hauser & Wirth and will be shown at the FOMU – Fotomuseum Antwerp afterwards.

FALCKENBERG COLLECTION

Phoenix Fabrikhallen, Wilstorfer Strasse 71, Tor 2, 21073 Hamburg - Harburg

www.sammlung-falckenberg.de

31/10/22

Cindy Sherman. 1977-1982 @ Hauser & Wirth Los Angeles

Cindy Sherman. 1977 – 1982

Hauser & Wirth Los Angeles

27 October 2022 – 8 January 2023

Cindy Sherman

Untitled Film Still, 1978

Gelatin silver print, 8 x 10 in / 20.3 x 25.4 cm

Courtesy the artist and Hauser & Wirth

Cindy Sherman

Untitled Film Still, 1978

Gelatin silver print, 25.4 x 20.3 cm / 10 x 8 in

Courtesy the artist and Hauser & Wirth

Cindy Sherman revolutionized the role of the camera in artistic practice and opened the door for generations of artists and critics to rethink photography as a medium. Following its critically acclaimed New York presentation, Hauser & Wirth Los Angeles exhibits over one hundred works from Cindy Sherman’s ground-breaking and influential early series – including the complete set of 70 Untitled Film Stills, Rear Screen Projections, Centerfolds and Color Studies – in her second major solo exhibition with the gallery.

Preferring to work alone, Cindy Sherman was not only the photographer, but also the makeup artist, hairdresser, stylist, and director, casting herself as the star of heavily staged, fictional tableaux. Inspired by depictions of women in television, film, and advertising, her characters explored a range of female stereotypes – femme-fatale, career-girl, house wife, etc.– to confront the nature of identity and representation in the media in a way that remains surprising and relevant today. Created over forty years ago, these powerful, enigmatic bodies of work are touchstones of contemporary art that continue to inspire and influence the course of art and image-making.

Cindy Sherman began making the Untitled Film Stills in the fall of 1977 just after moving to New York City at twenty-three years old. This iconic series of eight-by-ten-inch black-and-white photographs was originally conceived as a group of imaginary film stills from a single actress’s career. What began as an experiment in how to imply narrative without involving other people would evolve into 70 works over the next three years. Inspired by 1950s and 1960s Hollywood, film noir, B movies, and European art-house films, Cindy Sherman’s plethora of invented characters and scenarios imitated the style of production shots used by movie studios to publicize their films. The images are evocative of certain character types and genres, but always intentionally ambiguous, leaving room for the viewer to insert themselves into the work and walk away with their own interpretations. The entire set of Untitled Film Stills, the only series Cindy Sherman ever officially named, will be presented together in this exhibition for the first time since they were shown at the Museum of Modern Art for the artist’s retrospective exhibition in 2012.

Cindy Sherman

Untitled, 1980

Chromogenic color print, 40.6 x 61 cm / 16 x 24 in

Courtesy the artist and Hauser & Wirth

Cindy Sherman

Untitled, 1980

Chromogenic color print, 40.6 x 61 cm / 16 x 24 in

Courtesy the artist and Hauser & Wirth

Cindy Sherman stopped making the Untitled Film Stills in 1980 and began working in color. She continued to use herself as a model, transforming her appearance with various costumes, makeup, and wigs, leaving the narrative of her scenes deliberately vague. However, instead of making use of existing light and locations, Cindy Sherman brought her work back into the controlled environment of her studio, posing in front of locations projected onto a large screen – a technique made famous in several of Alfred Hitchcock’s films – to create the series now known as the Rear Screen Projections. Unlike the Untitled Film Stills, with their artificial narratives set in real locations, this series presents women no longer bound by their physical surroundings.

Around the same time that she was making the Rear Screen Projections, Cindy Sherman was commissioned to create new images for Artforum magazine. Continuing her exploration of the tension between artifice and identity in consumer culture, she responded with a series clearly referencing erotic images commonly found in the middle of men’s magazines at the time. Reversing the dynamic of male photographer and female pin-up by assuming both roles, Cindy Sherman subverted the genre here – replacing the traditional nude woman with fully clothed female subjects reclining in emotionally suggestive yet ambivalently distanced poses. The photographs were ultimately never published by the magazine for fear of public backlash and instead became a critically acclaimed series of 12 large-scale horizontal color works known as the Centerfolds. Designed to make viewers uncomfortable, the series continues to challenge expectations surrounding this type of photograph, drawing attention to the way we consume images – especially of women.

CINDY SHERMAN: BIOGRAPHY

Born in 1954 in Glen Ridge, New Jersey, Cindy Sherman lives and works in New York NY. Her groundbreaking work has interrogated themes around representation and identity in contemporary media for over four decades. Coming to prominence in the late 1970s with the Pictures Generation group – alongside artists such as Sherrie Levine, Richard Prince and Louise Lawler – Sherman first turned her attention to photography at Buffalo State College where she studied art in the early 1970s. In 1977, shortly after moving to New York City, she began her critically acclaimed series of Untitled Film Stills. Sherman continued to channel and reconstruct familiar personas known to the collective psyche, often in unsettling ways, and by the mid to late 1980s, the artist’s visual language began to explore the more grotesque aspects of humanity through the lens of horror and the abject, as seen in works such as Fairy Tales (1985) and Disasters (1986-89). These highly visceral images saw the artist introduce visible prostheses and mannequins into her work, which would later be used in series such as Sex Pictures (1992) to add to the layers of artifice in her constructed female identities. Like Sherman’s use of costumes, wigs, and makeup, their application would often be left exposed. Her renowned History Portraits, begun in 1988, used these theatrical effects to break, rather than uphold, any sense of illusion.

Since the early 2000s, Cindy Sherman has used digital technology to further manipulate her cast of characters. For the artist’s Clown series (2003) she added psychedelic backdrops that are at once playful and menacing, exploring the disparity between the exterior persona and interior psychology of her subject. In her Society Portraits (2008) the artist used a green screen to create grandiose environments for women of the upper echelons of society. These CGI backdrops add to the veneer-like charm of the women that Sherman portrayed, heavily made up and absorbed by societal status in the face of aging. In her series of wall murals from 2010 (installed for her MoMA retrospective in 2012), Cindy Sherman features several different characters against a computerized background in illfitting wigs, medieval dress, and no makeup, instead using photoshop to alter her facial features. In her Flappers series from 2016, the viewer is confronted with the vulnerability of the aging process in 1920s Hollywood starlets, who pose in the glamorous attire from their prime with exaggerated makeup.

In 2017, Cindy Sherman began using Instagram to upload portraits that utilize several face-altering apps, morphing the artist into a plethora of protagonists in kaleidoscopic settings. Disorientating and uncanny, the posts highlight the dissociative nature of Instagram from reality and the fractured sense of self in modern society that Cindy Sherman has uniquely encapsulated from the outset of her career.

HAUSER & WIRTH

901 East 3rd Street, Los Angeles CA 90013

www.hauserwirth.com

10/07/21

Close-Up @ Fondation Beyeler, Riehen / Bâle : Berthe Morisot, Mary Cassatt, Paula Modersohn-Becker, Lotte Laserstein, Frida Kahlo, Alice Neel, Marlene Dumas, Cindy Sherman, Elizabeth Peyton

CLOSE-UP

Berthe Morisot, Mary Cassatt, Paula Modersohn-Becker, Lotte Laserstein, Frida Kahlo, Alice Neel, Marlene Dumas, Cindy Sherman, Elizabeth Peyton

Fondation Beyeler, Riehen / Bâle

19 septembre 2021 – 2 janvier 2022

MARLENE DUMAS

Teeth, 2018

Huile sur toile, 40 x 30 cm

Collection privée Madrid

Courtesy the Artist and David Zwirner

Photo: Kerry McFate

BERTHE MORISOT

Jeune femme au divan, 1885

Huile sur toile, 61 x 50.2 cm

Tate, London

Bequeathed by the Hon. Mrs A.E. Pleydell-Bouverie

through the Friends of the Tate Gallery 1968

Photo © Tate

L’exposition présente des œuvres de neuf femmes artistes dont l’œuvre occupe une position éminente dans l’histoire de l’art moderne depuis 1870 jusqu’à aujourd’hui. C’est l’époque où, pour la première fois, il devint possible à des femmes en Europe et en Amérique de développer une activité artistique professionnelle sur une large base.

Au centre de l’exposition figurent des artistes qui ont en commun leur intérêt pour la représentation d’êtres humains, le portrait dans ses différentes déclinaisons et l’autoportrait. La Française Berthe Morisot et l’Américaine Mary Cassatt, toutes deux actives dans les années 1870 et 1880 à Paris, qui était alors la capitale de la création artistique la plus avancée; l’Allemande Paula Modersohn-Becker de 1900 à 1907 entre la petite ville provinciale de Worpswede, dans le Nord de l’Allemagne, et la métropole parisienne; l’Allemande Lotte Laserstein de 1925 à 1933 dans le Berlin de la République de Weimar; la Mexicaine Frida Kahlo depuis la fin des années 1920 jusque vers 1950, à Mexico City, pendant la période mouvementée de la consolidation de la révolution mexicaine; l’Américaine Alice Neel depuis la fin des années 1920 jusqu’au début des années 1980, d’abord à Cuba, puis à Manhattan, de Greenwich Village au Upper West Side en passant par Spanish Harlem; Marlene Dumas, née en Afrique du Sud, qui a grandiau Cap au plus fort de l'Apartheid, et vit depuis 1976 à Amsterdam; en même temps l’Américaine Cindy Sherman à New York, pôle occidental d’une nouvelle génération d’artistes contemporains; et enfin l’Américaine Elizabeth Peyton depuis les années 1990, entre New York et l’Europe de l’Ouest.

L’exposition s’intéresse particulièrement au regard posé par ces artistes sur leurs environnements, tel qu’il s’exprime dans leurs portraits et leurs tableaux de figures. La réunion de certaines de ces œuvres permet de découvrir comment ce regard a changé entre 1870 et aujourd’hui et par quoi il se caractérise.

FONDATION BEYELER

Baselstrasse 77, CH-4125 Riehen

www.fondationbeyeler.ch

28/02/21

Cindy Sherman @ Sprüth Magers Gallery, Los Angeles - Tapestries

Cindy Sherman: Tapestries

Sprüth Magers, Los Angeles

Through May 1, 2021

Monika Sprüth and Philomene Magers present the first solo exhibition at the Los Angeles gallery by internationally renowned artist CINDY SHERMAN, who has been associated with Sprüth Magers since the 1980s. In the latest series on view, Cindy Sherman explores her first non-photographic medium in a career spanning over 40 years: Tapestry. Featuring a dozen examples of her new and recent tapestries, the exhibition marks the début of these works as a coherent body of work.

In line with Cindy Sherman’s long-term photographic investigation into the construction of identity and the nature of representation, the images are based on pictures posted on the artist’s personal Instagram account, which she creates using widely available filters and face-altering apps. Impossible to print in large scale due to the low-resolution nature of the original Instagram images, they are transposed into woven textiles, which in turn resonate with the pixelation of the source material: Pixels, here, translate to the warp and weft of thread.

Produced in Belgium—with its long history of weaving and tapestry—and made of cotton, wool, acrylic and polyester, each tapestry invents and introduces an entirely unique character. In keeping with many of her previous works, the artist becomes nearly unrecognizable through changes in hair color, hairdo, eye color, skin tone, facial features and even gender. For example, one work depicts a figure with a blonde beard in front of mountains, water and pink skies, gazing upward with an inquisitive, hopeful look, as if to the heavens; another shows an almost extraterrestrial-looking being with pink hair, purple skin and two sets of flashy eyelashes taking a selfie in front of a prismatic sunset.

In Cindy Sherman’s tapestries, the interplay between character and background is as dynamic as ever. While earlier bodies of work feature distorted, yet still realistic, human figures, here they are increasingly digitally manipulated, resulting in exaggerated traits or the partial dissolution of the body as it begins to merge with its environment. The artist also continuously experiments with the images’ backgrounds, which range from plain white or grey to elaborate digital landscapes, often using Instagram effects. By combining contemporary, digital tools such as Photoshop and Instagram with such a traditional medium as tapestry—often associated with domestic settings and coded as female—Cindy Sherman also gives a nod to art history, gender and societal roles.

Since the late 1970s, Cindy Sherman has been photographing herself in guises inspired by stereotypes and characters from mass media, everyday life and art-historical imagery. Her unique approach reveals the degree to which these stereotypes are entrenched in the cultural and social imagination. Sherman’s influential, complex oeuvre draws upon cinema, realism and the grotesque, and is embedded in a number of postmodern and feminist theories.

CINDY SHERMAN (*1954, Glen Ridge, NJ) lives and works in New York. Her work was recently the subject of a large-scale exhibition at Fondation Louis Vuitton, Paris, which followed a major retrospective exhibition in 2019–20 at the National Portrait Gallery, London, and Vancouver Art Gallery. Other recent solo exhibitions include: Fosun Foundation, Shanghai (2018), The Broad, Los Angeles (2016), Dallas Museum of Art (2013), and Museum of Modern Art, New York, San Francisco Museum of Modern Art and Walker Art Center, Minneapolis (all 2012). Selected group exhibitions include Hayward Gallery, London (2018), National Gallery of Art, Washington, DC (2016), Tate Modern, London (2015), The Metropolitan Museum of Art, New York (2012) and MUMOK, Vienna (2011). Cindy Sherman also participated in the 54th Venice Biennale (2011) and co-curated a section of the 55th Venice Biennale (2013).

SPRÜTH MAGERS

5900 Wilshire Boulevard, Los Angeles, CA 90036

www.spruethmagers.com

_______________________

26/09/20

Cindy Sherman @ Metro Pictures, NYC

Cindy Sherman

Metro Pictures, New York

September 26 – October 31, 2020

For her latest body of work, Cindy Sherman has transformed herself into an extraordinary cast of androgynous characters, expanding her career-long investigation into the construction of identity and the nature of representation. The enigmatic figures pictured in the ten new photographs on view are dressed primarily in men’s designer clothing and are posed gallantly in front of digitally manipulated backgrounds composed from photographs Cindy Sherman took while traveling through Bavaria, Shanghai, and Sissinghurst (England). Each character draws the viewer in with their unique style, immediate eye contact and steely gaze.

Renowned for her depictions of female stereotypes, Cindy Sherman has played with masculinity and gender expression before. In a series referred to as "Doctor and Nurse,” Cindy Sherman became both a male and female character, embodying stereotypical mid-century professional archetypes. In the “History Portrait” series, Cindy Sherman became both male aristocrats and clergymen. In her more recent clown series, the artist donned layers of face paint and shapeless costumes, eliminating the question of gender for many of the characters.

One of the most influential artists of her generation, Cindy Sherman will be the subject of a one-person exhibition at the Fondation Louis Vuitton in Paris that runs from September 23 through January 3, 2021, following major retrospective exhibitions in 2019 at the National Portrait Gallery, London, and the Vancouver Art Gallery. Her 2012 retrospective at the Museum of Modern Art, New York, traveled to the San Francisco Museum of Modern Art; Walker Art Center, Minneapolis; and the Dallas Museum of Art. Additional recent exhibitions include Fosun Foundation, Shanghai; the inaugural exhibition at the Broad Museum, Los Angeles; Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia; and Astrup Fearnley Museum, Oslo. Sherman has participated in four Venice Biennales, co-curating a section at the 55th exhibition in 2013. Her work has been included in five iterations of the Whitney Biennial, two Biennales of Sydney, and the 1983 Documenta. She is the recipient of the 2020 Wolf Prize in Arts and has also been awarded the Praemium Imperiale, an American Academy of Arts and Letters Award, and a MacArthur Foundation Fellowship.

METRO PICTURES

519 West 24th Street, New York, NY 10011

www.metropictures.com

22/09/20

Cindy Sherman à la Fondation Louis Vuitton - Une rétrospective (de 1975 à 2020) + Crossing Views : La Collection, regards sur un nouveau choix d’œuvres

Cindy Sherman à la Fondation Louis Vuitton

Une rétrospective (de 1975 à 2020)

Crossing Views : La Collection, regards sur un nouveau choix d’œuvres

Fondation Louis Vuitton, Paris

23 septembre 2020 - 3 janvier 2021

Premier événement consacré en France à Cindy Sherman depuis l’exposition du Jeu de Paume de 2006, « Cindy Sherman à la Fondation Louis Vuitton » réunit, d’une part, une rétrospective composée de quelque 170 œuvres de l’artiste et, d’autre part, l’exposition Crossing Views, un choix de quelque cinquante œuvres de la Collection, d’une vingtaine d’artistes français et internationaux, arrêté avec Cindy Sherman.

I. Une rétrospective (de 1975 à 2020)

Tout au long de sa carrière, Cindy Sherman a bouleversé la notion de portrait en développant une œuvre à la frontière de la réalité et de la fiction. Au fil de ses séries, elle n’a cessé de produire des images aussi saisissantes que complexes qui se jouent des stéréotypes allant de la déconstruction des archétypes féminins à des interrogations d’une profonde actualité sur la fluidité des genres. Cette exposition rétrospective se déploie dans trois galeries (1, 2 et 4) sur deux niveaux du bâtiment de la Fondation. Les 170 œuvres réunies ici et articulées en dix-huit séries, offrent un panorama de sa pratique artistique de 1975 à aujourd’hui, allant des premières œuvres de jeunesse à ses productions les plus récentes, dont certaines sont inédites. À cette occasion, un important corpus de 60 œuvres appartenant à la Collection de la Fondation est présenté.

II. Crossing views : La Collection, regards sur un nouveau choix d’œuvres

Résultant d’un regard croisé sur la Collection, ce nouvel accrochage, intitulé Crossing Views (galeries 5 à 11) propose un choix de 50 œuvres issues de la Collection de la Fondation, arrêté avec Cindy Sherman. À travers des approches et des supports différents (peinture, sculpture, photographie, vidéo, installation), il rassemble quelque vingt artistes français et internationaux, autour de l’idée fédératrice du portrait avec un ensemble d’œuvres des années 1960 à nos jours. Le portrait est ainsi conçu comme un espace permettant d’interroger les archétypes féminins et masculins, l’enfance et l’adolescence, la mémoire intime et collective, la fiction et l’allégorie, l’identité sociale et le renouveau formel du genre via les nouveaux médias et les réseaux sociaux.

Artistes exposés :

Adel Abdessemed (1971, Algérie/France), Marina Abramović (1946, Serbie), Ziad Antar (1978, Liban), Dara Birnbaum (1946, États-Unis), Christian Boltanski (1944, France), Louise Bourgeois (1911-2010, États-Unis), Clément Cogitore (1983, France), Rineke Dijkstra (1959, Pays-Bas), Samuel Fosso (1962, Cameroun), Gilbert & George (1942, Royaume-Uni), Damien Hirst (1965, Royaume-Uni), Annette Messager (1943, France), Zanele Muholi (1972, Afrique du Sud), Albert Oehlen (1954, Allemagne), Rob Pruitt (1964, États-Unis), Torbjørn Rødland (1970, Norvège), Wilhelm Sasnal (1977, Pologne), Cindy Sherman (1954, États-Unis), Wolfgang Tillmans (1968, Allemagne), Rosemarie Trockel (1952, Allemagne), Andy Warhol (1928-1987, États-Unis), Ming Wong (1971, Singapour).

• Cindy Sherman est présente à deux reprises dans Crossing Views, en galerie 5, non loin des archives de Christian Boltanski et en galerie 9, où ses tapisseries récentes (2019) sont montrées en résonance avec The Evil Eye (2017-2018) de Clément Cogitore.

• La continuité entre les deux séquences de cet événement est assurée par des paysages tirés des murals (2010) de Cindy Sherman qui sont exposés sur les murs extérieurs des trois niveaux de la Fondation.

• À l’écart, tirant partie de la spécificité acoustique de la galerie 10 (dite « La Cathédrale ») et de son accès indépendant, L’Expédition scintillante (Acte II) (2002) de Pierre Huyghe, œuvre hypnotique et contemplative, est présentée pour la première fois à la Fondation.

Commissariat général : Suzanne Pagé, Directrice artistique

Commissaires :

Une rétrospective (de 1975 à 2020)

Marie-Laure Bernadac et Olivier Michelon, Conservateur

avec Ludovic Delalande, Commissaire d’exposition associé

Crossing Views : La Collection, regards sur un nouveau choix d’œuvres

Angeline Scherf, Conservatrice, Nathalie Ogé, Chargée de recherche pour la Collection, Ludovic Delalande

assistés de Claudia Buizza

FONDATION LOUIS VUITTON

8 avenue du Mahatma Gandhi, Boisde Boulogne, 75016 Paris

www.fondationlouisvuitton.fr

31/08/13

L'oeil Photographique, Frac Auvergne, Clermont-Ferrand : Oeuvres majeures de la collection photographique du Centre national des arts plastiques (CNAP)

L’ŒIL PHOTOGRAPHIQUE
Œuvres majeures de la collection photographique du Centre national des arts plastiques (CNAP)
FRAC Auvergne, Clermont-Ferrand
5 octobre 2013 - 9 février 2014

Vincent J. Stoker, Hétérotopie #PEBBI, 2010, de la série Hétérotopia

Une géographie du geste photographique à partir d’oeuvres majeures du Centre national des arts plastiques.

A l’occasion du trentième anniversaire de la création des Fonds régionaux d’art contemporain, le CNAP et le FRAC Auvergne s’associent pour une exposition exceptionnelle regroupant plus de 90 oeuvres issues de la collection photographique du CNAP. Cette exposition propose un parcours destiné à aborder les différents statuts de l’image photographique, de sa dimension documentaire à son investissement fictionnel.

Ce parcours permet la mise en lumière d’artistes historiques au côté d’artistes de la scène émergente. Axée sur un ensemble de notions empruntées à la physiologie oculaire (Fovéa, macula, cristallin, etc.), l’exposition décline également, sur un mode symbolique et poétique, les différentes fonctions de l’oeil photographique dans sa capacité à percevoir le monde.

Liés par une histoire commune, les Fonds régionaux d’art contemporain et le Centre national des arts plastiques, tous créés par le ministère de la Culture et de la Communication en 1982, s’engagent en faveur des projets les plus innovants et les plus ambitieux qui impliquent la scène française sur le territoire et à l’étranger. Ils partagent ainsi une expertise et des valeurs communes, en mettant l’artiste au centre de leurs préoccupations et en défendant une politique de laboratoire et de prises de risques.

Le CNAP multiplie les collaborations et les points de vue extérieurs sur sa collection et cherche à la diffuser dans l’ensemble des territoires. Le FRAC Auvergne s’appuie aujourd’hui sur une collection de près de 500 oeuvres de haut niveau pour développer toute son action de sensibilisation du public le plus large à la création contemporaine et mettre en place des partenariats. Depuis des années, sa collection, initialement tournée vers la peinture, s’est développée autour des questions afférentes au statut de l’image.

Cindy Sherman

Sans titre, 1982

Cette exposition exceptionnelle présentera plus de 90 œuvres issues des collections photographiques du CNAP et regroupera des artistes de renoms tels que Yto Barrada, Eric Baudelaire, Philippe Bazin, Bernd et Hilla Becher, Valérie Belin, Sophie Calle, Stéphane Couturier, Gregory Crewdson, Raphaël Dallaporta, Thomas Demand, Philip-Lorca diCorcia, Rineke Dijkstra, Véronique Ellena, Geert Goiris, David Goldblatt, Nan Goldin, Pierre Gonnord, Paul Graham, Philippe Gronon, Andreas Gursky, Camille Henrot, Yuri Kozyrev, Abigail Lane, Jean-Luc Mylayne, Nasa, Eric Poitevin, Sophie Ristelhueber, Thomas Ruff, Vivian Sassen, Zineb Sedira, Alan Sekula, Andres Serrano, Jeanloup Sieff, Cindy Sherman, Vincent J. Stoker, Hiroshi Sugimoto, Wolfgang Tillmans, Patrick Tosani, Jeff Wall, Xavier Zimmerman et Hocine Zaourar.

Cette exposition débouchera par ailleurs sur un dépôt au FRAC Auvergne de plusieurs dizaines d’oeuvres photographiques du CNAP présentées dans L’Oeil Photographique .

Commissariat : Jean-Charles Vergne, directeur du FRAC Auvergne

HORAIRES : Du mardi au samedi, de 14 h à 18 h, le dimanche de 15 h à 18 h.

Sauf jours fériés, 24 et 31 décembre.

Entrée gratuite.

L’ŒIL PHOTOGRAPHIQUE : LE CATALOGUE DE L'EXPOSITION

L'Oeil photographique

Catalogue de l'exposition

Publication du livre L’OEil photographique.

370 pages - 115 reproductions couleur.

Design graphique : Supaire Frappe

Préfaces d’Aurélie Filippetti, Ministre de la Culture et de la Communication et de Richard Lagrange, Directeur du Centre national des arts plastiques.

Texte de Jean-Charles Vergne, Directeur du FRAC Auvergne, commissaire de l’exposition Français / anglais

39 €

L'Oeil photographique, Catalogue de l'exposition

Et aussi, chaque premier dimanche du mois à 16 h 30 :

Les transversales – Cinq parcours thématiques pour voir l’exposition autrement

Visites gratuites. Durée : 1 h 30

Dimanche 6 octobre : Lire les images

Focus sur les oeuvres de Patrick Tosani, Hocine Zaourar, NASA, Philippe Gronon, Valérie Belin, Eric Poitevin, Thomas Ruff, Andreas Gursky.

Dimanche 3 novembre : La photographie mise en scène

Focus sur les oeuvres de Eric Baudelaire, Andres Serrano, Jean-Luc Mylayne, Raphaël Dallaporta, Abigail Lane, Gregory Crewdson, Jeanloup Sieff, Cindy Sherman, Philip-Lorca diCorcia.

Dimanche 1er décembre : L’humanité révélée

Focus sur les oeuvres de David Goldblatt, Paul Graham, Sophie Calle, Philippe Bazin, Pierre Gonnord, Rineke Dijkstra, Nan Goldin, Yto Barrada.

Dimanche 5 janvier : Regarder le monde

Focus sur les oeuvres de Yuri Kozyrev, Sophie Ristelhueber, Allan Sekula, Vivian Sassen, Xavier Zimmermann, Bernd et Hilla Becher, Zineb Sedira, Geert Goiris, Vincent J. Stoker, Jeff Wall.

Dimanche 2 février : L’ objet de la photographie

Focus sur les oeuvres de Thomas Ruff, Patrick Tosani, Camille Henrot, Nasa, Wolfgang Tillmans, Hiroshi Sugimoto, Eric Poitevin, Thomas Demand.

FRAC Auvergne
6 rue du Terrail – 63000 Clermont-Ferrand – France
www.fracauvergne.com