Here are some installation shots, I snuck with my camera phone.
finally saw the Cindy Sherman retrospective at the DMA this week and although it was neat seeing her newer large scale photographs, what I really loved seeing was the Untitled Film Stills series in its entirety.
Cindy Sherman, Untitled Film Still #58, 1980
Cindy Sherman, Untitled Film Still #3, 1977
Cindy Sherman, Untitled Film Still # 63, 1980
Cindy Sherman, Untitled Film Still #59, 1977
Cindy Sherman, Untitled Film Still #62, 1977
This week in… Instagram
1. I attended my first Sotheby’s Contemporary Art Auction. It was exciting and eye-opening. 2. I spotted this ArtForum Cake as Pie billboard off the Highline. 3. I studied. alot. (I have read more this month than I have my entire life which is saying something considering I grew up next to a library.) 4. I went to the Aperture Gallery Richard Misrach book opening & heard him speak. Check out his new book here.
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This week in…Links.
I read about the ‘untapped secrets’ of the Metropolitan Museum of Art, and was surprised at the spots I still have never found. I am happy for 365 Lucky Days for finishing her year long quest of embroidering every. single. day. I loved the Ask a Curator day hosted on Twitter. This photograph of Cindy Sherman “out in the wild” is just perfect. I read Ayn Rand’s Theory of Art here. I too wondered what happens when Photography becomes a commodity I thought this list of 100 Most Influential Photographers was clearly biased and created by a Brit. I am really enjoying Hyperallergic’s weekly art comic strip. & finally this video of animated comparisons between New York and Paris made me giggle and fondly remember my first trip to Paris.
I close my eyes and I think of the canon. The canon are the photographers I draw on in times of doubt. They give me comfort, solace and inspiration. They include Richard Avedon, Helmut Newton, Bruce Weber, Lee Friedlander, Sally Mann, Corrine Day, Glen Luchford, Erwin Blumenfeld, Harry Callahan and, in this case, Irving Penn. I close my eyes and I go through the rolodex in my head thinking of them all until I find the one that instinctively feels like the inspirational match for the task at hand. That’s not to say I set about slavishly ripping them off. I use them as my starting point, my jumping off point. They are my photographic moral compass. -Chris Floyd from Cleaning Living Under Difficult Circumstances
This excerpt really got me thinking about my rolodex of inspiration which lead me to today’s post..
Cindy Sherman, Untitled Film Still #48 1979 seework.
Ralph Eugene Meatyard, Untitled 1960 seemorework.
Garry Winogrand, Untitled [3 figures], 1960 readmore.
Rene Burri, Shadow of a Tree, 1963 readmore.
Joel Sternfeld, Washington D.C., August 1974 seemorework.
Tina Barney, Mr. and Mrs. Castelli 1988 readmore.
William Eggleston, Memphis (Tricycle) 1969 Artistwebsite.
whats in ya’lls rolodex of inspiration?
Cindy Sherman + M·A·C is by far my favorite artist/product collaboration (sorry BMW/Jeff Koons.) Not only are the portraits she made for the campaign so, well Cindy Sherman, but the colors are wonderfully loud, the photographs hilariously satirical, and the company’s ultimate message, for me happily received! Most artist-product collaborations feel like the artist is selling out, but in this case it just feels right. I think it’s because Sherman doesn’t hold back in her cruelty and has spent all of her photographic career disguised as somethingelse.
the entire collection is at MAC from september 29- october 27.
Robert Therrien Red Room 2000-2006
William Eggleston Greenwood, Mississippi 1973
Cindy Sherman Untitled # 97 1982
I would be lying if I didn’t admit I am on a little bit of an art overload. I never thought that would be possible but after a four day weekend in New York City consisting of non-stop visits to five museums, ten galleries, and numerous perspective graduate Art schools, my mind is on the verge of information meltdown. I will not deny the entire trip was a success from the mere volume of art I was fortunate to see, the amazing and eager-to-learn company of my loving Mother, and the newly developed pet peeved I have developed for (lack of) museum etiquette. As there is a lot to talk about, I thought first I would give a little review of my experience at MOMA, as it was the first museum I went to, and probably one of my favorites.
The Museum of Modern Art is more like an amusement park then an art museum, especially right now with the attracting Tim Burton exhibition and the plethora of performance art pieces by acclaimed Marina Abramovic.
The line that wrapped around the building to get in at 11:30 A.M. on a Friday was full of wackily dressed teens and felt more like I was waiting in line for a roller coaster, then the opportunity to view hundreds of the most popular and talked about contemporary pieces of all time. Luckily there was a Starbucks on the corner and the line moved quickly, it was no time before me and my mother were hurrying up the eight escalators wandering among the very crowded galleries the Museum has to offer.
My favorite part of the Museum, was the Photography galleries that displayed many works from their permanent collection. I finally got to see in person a Robert Frank photograph (the first of many I saw over the weekend), but that was only the cherry on top of the double strawberry, sprinkled and chocolate syrup sundae. I
was introduced to many photographers that I got very excited about.
There was a wide range of female photographers, which I was very pleased to see. I was really drawn to Eilnor Carucci’s large photograph titled Revlon as well as Valerie Belin’s life-size and startlingly realistic photographs as mannequins. I love that the title of this series is numbers, referencing how society is beginning to depend on a manufactured beauty. A type of assembly line vanity. These photographs in the same room as two large Cindy Sherman’s unified the room, to celebrate the triumph of female photographers.
Although the crowds were thick, the experience was well worth it. The MOMA draws big crowds, because it deserves them in every way.