Cindy Sherman
Richard Prince
Astrup Fearnley
Collection
06.28—
10.29.18

Cindy Sherman Richard Prince
Astrup Fearnley Collection

06.28— 10.29.18
Sala 5. Nivel 2
Opening: Wednesday, June 27 7:00 PM

An exhibition devoted to two leading figures in contemporary photography, whose work revolutionized the field in the latter half of the 20th century. Divided into two large galleries, the exhibition compares and contrasts the styles of both artists through a selection of 34 photos –most of them large-scale–, from the collection of Oslo's Astrup Fearnley Museum, which, since its founding in 1993, has focused on assembling a vast range of output by leading figures in international contemporary art. The show will include the most representative series in the careers of each artist, from the late '70s to the present day: for Richard Prince, this means Cowboys and Spiritual America –with Brooke Shields–, for Cindy Sherman, the famous self-portraits of Untitled Film Still[s] and History Portraits.

Cindy Sherman and Richard Prince came out of the movement known as the Pictures Generation, which took shape in the New York scene of the mid-1970s, among artists working with the idea of appropriation of images from popular culture and the mass media. Key figures in the movement, Sherman and Prince are masters of social critique and of transformation in the medium of photography.

 

Curators: Victoria Giraudo and Gunnar Kvaran. Organized in collaboration with the Astrup Fearnley Museet. 

 

Cindy Sherman

USA, 1954. 

In her photography, Cindy Sherman developed characteristic appropriations of characters whom she transformed into her own brand of authorship, creating scenes based on references to popular aesthetics and common-sense notions, in particular, certain stereotypes for women taken from the movies, magazines, advertising and the arts. Throughout her career, Sherman has used and manipulated images, inventing new types of image repertories which, in a highly original way, tell stories about women in our societies. Her originality is based essentially on her great skill to create a wide range of characters with the help of makeup and prostheses: Sherman uses her own body as a medium, as raw material, and sets these dramatis personae into the photographic medium. Her transformative body – anchored, however in a social reality – is as much painting as sculpture.

 

Richard Prince 

Panama, 1949.

Richard Prince is a conceptual artist, a photographer, writer, painter, sculptor, collector, actor, graphic designer, and curator, who is forever putting in crisis categorizations and the traditional role of the artist through the production of an extremely personal mythology. During the 1970s, Prince worked with the contents of lifestyle magazines, catalogued its clichés and stereotypes, and transformed that iconography into the material of his own oeuvre. By re-photographing the images of those publications and focusing at times only on certain particular elements, he questioned the notion of intellectual property, a radical artistic gesture in its day.

 

Audioguides

Explorá la exposición a través de una descripción detallada de veinte de sus obras.


 

 

Images
Above: Richard Prince: Untitled (Cowboy), 1997. Left: Cindy Sherman: Untitled #199A, 1989. 
© Astrup Fearnley Collection, Oslo.

Related Activities

Cindy Sherman, Untitled #199A, 1989.

Diary

Los retratos históricos
de Cindy Sherman

La serie History Portraits/Old Masters (1988-1990) comenzó por un encargo de la fábrica de porcelanas Royale de Limoges, que le pidió a Sherman el diseño de una vajilla con motivo del 200 aniversario de la Revolución Francesa.

1988-1990

Richard Prince. Untitled (Cowboy), 1989.

Diary

Los cowboys
de Richard Prince

En las piezas que integran la serie Cowboys, refotografía las imágenes del vaquero de las publicidades de cigarrillos Marlboro para cuestionar ciertos principios centrales del arte, como la autoría y la originalidad.

1980-1999

Lunes 13 y 27 de agosto, 3 y 10 de septiembre de 19.00 a 21.00

Taller

Miradas transgeneradas
Vaqueros, rostros y paisaje

Proponemos revisar la exhibición Cindy Sherman / Richard Prince a partir de una selección de películas, lecturas y sonidos para vincular a lxs dos artistas con sus diferencias, similitudes y visiones.

A cargo de Fernanda Alarcón y Fiorella Talamo
Lunes 13 y 27 de agosto, 3 y 10 de septiembre de 19.00 a 21.00

Por Javier Alvarez Gramuglia
13, 17, 27 de agosto y 3 de septiembre de 11:00 a 12:30. Biblioteca

Curso

Cindy Sherman: Sin título

Este curso se propone estudiar en cuatro encuentros la obra de la artista norteamericana Cindy Sherman y recorrer algunas de sus series fotográficas más emblemáticas.

Género, apropiación y performance
Por Javier Alvarez Gramuglia
13, 17, 27 de agosto y 3 de septiembre de 11:00 a 12:30. Biblioteca

Cindy Sherman. Untitled Film Still #143, 1979.

Diary

Cindy Sherman
Untitled Film Stills

La emblemática serie Untitled Film Stills marcó la consagración de Cindy Sherman dentro de la escena artística internacional. Las fotos en blanco y negro que la componen muestran a diversas figuras femeninas en lo que parecen ser capturas fijas tomadas en diferentes escenas cinematográficas.

Parte de la exposición Cindy Sherman / Richard Prince

Richard Prince. Spiritual America 4, 2005.

Diary

Richard Prince
Spiritual America 4

En Spiritual America 4, Prince aborda la controversia vinculada a su utilización de la fotografía de Brooke Shields en Spiritual America.

Parte de la exposición Cindy Sherman / Richard Prince

Lunes 24 de septiembre, 1, 8, 22 y 29 de octubre de 18:30 a 20:30. Biblioteca

Walter Benjamin BNF

Curso

Walter Benjamin: la cultura bajo crítica

Este curso propone una introducción a las preocupaciones centrales de Benjamin hacia el final de su vida, durante la década del treinta del siglo pasado, preocupaciones que son hoy de total actualidad.

Por Mariana Dimópulos
Lunes 24 de septiembre, 1, 8, 22 y 29 de octubre de 18:30 a 20:30. Biblioteca

Richard Prince. Second Place, 2003.

Diary

Sobre Second Place, de Richard Prince

Richard Prince es un apasionado por los autos, los colecciona y utiliza en sus obras. En 1988, comenzó a trabajar en la serie Hoods, en la que utiliza capós de automóviles estadounidenses como soporte.