Femininity was understood to be a cultural construct, a masquerade, and Sherman’s photographs were considered exemplary of this turn.
In the following decades, quite independently of the politics swirling around her, Sherman continued to deploy her face and body in fanciful guises that ran the gamut from an Italian Renaissance Madonna to an All-American clown.
For all its jangly discontinuities, the current work (all untitled) feels newly grounded.
It emerged, Sherman told me, from a creative slump.
It clicked.
Persons:
Sherman, “
Locations:
Italian, New York, Zurich