‘Untitled #592 ’ by Cindy Sherman, currently on display at Sprüth Magers in London as part of her self-titled solo exhibition, which runs until September 1st.
“Sherman’s current exhibition marks over three decades and seventeen exhibitions with Sprüth Magers. On view is her most recent body of work from 2016, which debuted in Europe at the Berlin gallery last year. Now, the show has been brought to the UK and includes several new and previously unseen works. In the large-scale colour portraits, the artist imagines herself as a cast of 'grandes dames' from the Golden Age of 1920s Hollywood cinema. Differing from Sherman’s earlier series, these actresses are presented outside of the filmic narrative, posing instead for what seem to be formal publicity shots. Despite their elaborate garb, coiffed hairdos and painted faces, the leading ladies are clearly in their twilight years, and the grave stoicism of their expressions gives way to instances of poignant vulnerability: fine lines emerge through caked-on make-up, and sinewy, aged hands seem at odds with the smooth polish of their owners’ faces. The actresses pose against digitally manipulated backgrounds that are suggestive of the film sets and backdrops of yesteryear. Skyscrapers, a busy café scene, manicured gardens and a classical landscape all feature within the series.
Each photograph has been created through dye sublimation – using heat to transfer dye directly onto metal. The technique removes the necessity for glass protection to the works, making the life-size figures seem more immediate, more vital – emerging from their outmoded stage sets to encroach on our own contemporary world.” - Sprüth Magers
Robert Horvath’s work, currently on view in Herron’s summer faculty show, explores the politics of representation and the social discomfort experienced in response to queer sexuality. Using digital processes to insert gay figures into imagined sculptural forms based on traditional Rococo porcelains, Horvath examines the manner in which homosexuality has been camouflaged and left largely unacknowledged in the history of Western art. In so doing, he gestures to a history of homophobia while also negotiating a space for representations of contemporary queer sexuality.
“Hero Resting,” 2017 (detail)
Archival digital pigment print