Cindy Sherman – Untitled Horrors

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Curators: Gunnar B. Kvaran and Hanne Beate Ueland.
Authors: Kathy Acker, Sibylle Berg, Miranda July, Karl Ove Knausgård, Lars Norén, Sjón and Sara Stridsberg.
Pages: 231
Language: English
ISBN: 978-37-75734-87-5
Publisher: Hatje Cantz

Description

This richly illustrated publication Cindy Sherman – Untitled Horrors seeks to highlight and acknowledge these aspects of Cindy Sherman’s work based on selected examples. It is accompanied by texts by well-known authors, filmmakers, and artists who likewise deal with the grotesque, the uncanny, and the extraordinary in their artistic practice.

The exhibition Untitled Horrors highlighted the frightening and fascinating dark streak that imbues Sherman’s entire oeuvre. Characters on the verge of derailing, creatures distancing themselves from humanity, moving towards the mythological, bestial or machinelike. Since the 1980s Sherman’s works have been crucial to our perception of how identity is constructed, and of the mythogenic power of pictures.

In the galleries many of her works were encountered in completely new ways; a visual cacophony that generated other images and sequences, installed in close collaboration with the artist.
The artist herself is both model and photographer, but the pictures are not portraits. Cindy Sherman’s works conjure up narratives without revealing anything themselves. They cull material from a flow of film, art and media, creating links between the familiar and the unknown.

Exhibition: Cindy Sherman – Untitled Horrors at Astrup Fearnley Museet, Oslo, in 2013.
Curators: Gunnar B. Kvaran and Hanne Beate Ueland.
Authors: Kathy Acker, Sibylle Berg, Miranda July, Karl Ove Knausgård, Lars Norén, Sjón and Sara Stridsberg.
Publisher: Hatje Cantz, 2013
Pages: 231
Softcover
Language: English
ISBN: 978-37-75734-87-5

About the artist: Cindy Sherman (b. 1954) developed her brand of appropriation through her staged photography, creating scenes based on references to popular aesthetics, clichés and commonplace ideas, particularly feminine stereotypes from films, the arts, magazines and advertising in photographs.

Throughout her artistic career, Sherman has addressed and manipulated images of women, inventing new kinds of imagery that, in an exceptionally original way, tell stories about the female in society. This originality lies essentially in her ability to create a wide range of characters with the help of make-up and prostheses, using her own body as a raw material and a support, characters that she fixes and transfers in her photographs. Her transformative body is both painting and sculpture, anchored in a social reality.

Sherman was one of the first appropriation artists to be included in the Astrup Fearnley Collection and ever since then she has had an increasing presence in one of the most important one-artist bodies of work within the collection

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