ART CITIES:Los Angeles-Cindy Sherman
Since the late 1970s, 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.
By Dimitris Lempesis
Photo: Sprüth Magers Gallery Archive
As photographer and model at the same time, Cindy Sherman also assumes every other role needed to create her images, including stylist, makeup artist, and hairdresser. In her new exhibition “Tapestries” for the first time instead of photographs, Sherman has been working with a new medium: tapestry. Featuring nine examples of her tapestries, the exhibition marks the début of these works as a coherent body of work. In line with 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. 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, Sherman also gives a nod to art history, gender and societal roles.
Info: Sprüth Magers Gallery, 5900 Wilshire Boulevard, Los Angeles, Duration: 16/2-1/5/2021, Days & Hours: Thu-Sat 12:00-17:00 (by scheduled appointment), https://spruethmagers.com
