Saturday, October 31, 2020

Cindy Sherman at Metro Pictures


"Renowned for her depictions of female stereotypes" says the PR.

"From the first lightning bolts of Cindy Sherman's Untitled Film Stills, the artworld continuously electrified by depictions of women in societal bondage gear. Artists depicting the strictures that force women to conform to cultural mores; images of women made, if only momentarily, powerless or complicit. Which whose artistic doubling, or performance of, is the critique. ... And despite the critical intention's now obvious powerlessness to successfully confront or diminish such roles - as evidenced by its 40 years of continuous updating and still ringing true - Sherman et al. enjoy success in the market, press, and critical etceteras."

Critical etceteras amounting to mostly, "haha women are constructed."

Art needs to contend with the fact that - if its cultural critique was successful - it would outmode itself to that culture, make itself irrelevant. So what is 40 years of Sherman's critique? That not only is Sherman still successfully mocking the mores of "woman" but also the  re-regurgitations of Sherman-esque in younger careers. That, maybe, there is no critique at all, maybe culture just enjoys the befuddlment of women.

See too: Amalia Ulman at The Gallery at El Centro,