Minneapolis, February 6, 2013—Due to the popularity of its exhibition Cindy Sherman, the Walker Art Center is extending the hours of the show’s final weekend. Saturday–Sunday, February 16–17, members can view Cindy Sherman starting an hour early, 10 am, and the gallery will be open to all visitors until 7 pm.
The closing week of Cindy Sherman includes a Target Free Thursday Night Valentine’s Day tribute to the artist, I Heart Cindy, on Thursday, February 14.
Complete event and exhibition information follows.
GALLERY HOURS AND ADMISSION
Tuesday, Wednesday, Friday, Saturday, Sunday, 11 am–5 pm
Thursday, 11 am–9 pm
Cindy Sherman Extended Gallery Hours
Saturday–Sunday, February 16–17: 10 am–7 pm (Walker Members);
11 am–7 pm General Public
$12 adults; $10 seniors (65+); $8 students (with ID)
Free to Walker members and children ages 18 and under.
Free with a paid event ticket within one week of performance
Free to all every Thursday evening (5–9 pm) and on the first
Saturday of each month (10 am–5 pm).
Target Free Thursday Night: I Heart Cindy
Thursday, February 14, 5–9 pm
This Target Free Thursday Night celebrates the Cindy Sherman retrospective, which closes on February 17, with a special Valentine’s Day salute to the artist featuring activities throughout the building and free gallery admission from 5 to 9 pm. Inspired by Sherman’s cast of characters, dress as your alter ego for a photo op at the Party People Pictures photo booth from 6–9 pm. Join the local literary community for a round of eros-fueled verse at Social/Brief: The Love Version, from 7–8 pm. At this reading the only rule is that each poem must be Hallmark-sized and read in twenty seconds or less! Bring along some mushy lines of your own to share. Finish off the night with a tour of the exhibition at 8 pm exploring the love and heartbreak in Sherman’s photos. Throughout the night you can write a love letter to your favorite “Cindy,” which will be collected and sent to the artist. A cash bar features the Love Potion, a custom cocktail from Gather by D’Amico
Valentine’s Day at Gather by D’Amico, 5–9 pm
Gather by D’Amico will be serving a three-course prix fixe menu, 5–9
pm, as well as happy hour 5–7 pm.
Special price can’t be combined with other discounts.
In the Walker Shop: 20% discount on Cindy Sherman Catalogue
The Walker shop will offer a discount of 20% on the hard and soft cover editions of the Cindy Sherman catalogue during the exhibition’s extended hours February 16–17.
Published to accompany the first major survey of Cindy Sherman’s work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist’s 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman’s sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977–80); centerfolds (1981); history portraits (1989–90); head shots (2000–2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman’s career, weaving together art historical analysis and discussions of the artist’s working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman’s work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process. By Eva Respini. Text by Johanna Burton. Interview by John Waters.
Cindy Sherman Exhibition Information
Throughout her career, American artist Cindy Sherman (b. 1954) has used photography to present a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation. The Walker’s Cindy Sherman exhibition is a comprehensive survey tracing the groundbreaking American artist’s career from the mid-1970s to the present. The exhibition, organized by The Museum of Modern Art, New York, brings together more than 160 key photographs from the artist’s acclaimed bodies of work.
Widely regarded as one of the most influential and important artists today, Sherman has worked for more than 30 years as her own model, art director, makeup artist and stylist, generating an astonishing range of guises and personas that are by turns amusing and disturbing, distasteful and affecting. Drawing inspiration from the unlimited supply of images available through movies, TV, magazines, the Internet, and art history, Sherman deploys an arsenal of wigs, costumes, makeup, prosthetics, and props in the making of her photographs, deftly altering her physique and surroundings. By transforming herself into a continually intriguing variety of characters—from screen siren to clown to aging socialite—Sherman taps into aspects of gender and class identity; artifice and fiction; horror and the grotesque; and other themes that resonate deeply within our visual culture.
Cindy Sherman showcases the artist’s greatest achievements to date through the extraordinary range and evolution of her work, from her early experiments as a student in Buffalo in the 1970s to her recent large-scale photographic murals. To avoid specific narrative association, Sherman never titles her work, but has consistently produced her photographs in series, which have informal names. Arranged in a chronological fashion, the exhibition highlights her major bodies of work, including:
A complete set of the “Untitled Film Stills” (1977-80), Sherman’s celebrated series featuring some 70 black-and-white images that explore the stereotypes of film. In these, the only series shot outside her studio, Sherman poses in a variety of guises that resemble promotional photographs from movie studios. While many have the feel of 1950s and 1960s films, B-movies, or European art house films, the characters are entirely fictional, and none of the photographs references an actual film.
A complete group of her 12 centerfolds (1981), photographs originally commissioned for Artforum magazine and made in a horizontal format that evokes page spreads from men’s magazines as well as cinema screens. In place of erotic imagery, the large scale, immersive images present clothed women—none of them looking at the camera—who seem to be in various states of emotion, from fear to anxiety to ennui.
Selections from major series such as “Fairy Tales” and “Disasters,” where Sherman inhabits the identities of macabre, highly exaggerated characters drawn from the dark side of stories and legends.
History portraits (1988-90), where Sherman mines art history, borrowing the guises of various subjects in paintings from Renaissance and post-Renaissance eras—icons, aristocrats, clergy, and commoners—using detailed costumes and set pieces.
Sex pictures (1992), a series where dolls Sherman ordered from medical supply catalogues become stand-ins for the human body, then are manipulated to mimic scenes from pornography or to create hybrid, sometimes horrific combinations of body parts.
Head shots (2000), a more intimately scaled series that recalls ID pictures, promotional photographs made by aspiring actors, or vanity portraits made in department store studios. With this cast of characters—from the aging beauty queen, to the old hippie, to the tough girl on the corner—Sherman underscores the power of stereotypes as transmitters of cultural clichés.
Clowns (2003-04), where Sherman carefully manipulates costume, makeup, background, and composition to create individualistic portraits of these iconic circus performers.
Society portraits (2008), a series set against opulent backgrounds in which Sherman assumes the guise of women of a certain age from the upper echelons of society. At once tragic and vulgar, the figures are not based on specific women but seem entirely familiar in their struggle with the impossible standards of beauty that prevail in a youth- and status-obsessed culture.
The exhibition also includes a gallery highlighting Sherman’s work through the years with the fashion industry, in which couture clothing—from such designers as Comme des Garcons, Issey Miyake, Chanel, and Balenciaga—plays a key role in the personas she creates. In addition, a large-scale, site-specific photographic mural produced in 2010-12 will be shown in the first gallery of the exhibition, which pairs this newest work from Sherman with her earliest photographic projects. The exhibition includes an audio guide and is accompanied by a major publication.
Cindy Sherman is organized by The Museum of Modern Art, New York, where it was on view from February 26 to June 11, 2012. It traveled to the San Francisco Museum of Modern Art (July 14-October 7, 2012) before its run at the Walker Art Center, following which it will travel to the Dallas Museum of Art (March 17-June 9, 2013).
Major support for the Walker Art Center’s presentation is provided by Martha and Bruce Atwater, Elizabeth Redleaf, and John L. Thomson. Additional support is generously provided by the Broad Art Foundation, Marilyn and Larry Fields, and Karen and Ken Heithoff. Media partner Mpls.St.Paul Magazine.
Organizing curators: Eva Respini, associate curator, with Lucy Gallun,
curatorial assistant, department of photography at The Museum of Modern
Art, New York.
Walker coordinating curator: Siri Engberg.