Cindy Sherman: Season 5 Preview (October 2009)

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How can I catch up on past seasons of Art21?
0:00:05
Past seasons of the Art:21—Art in the Twenty-First Century television series can be found on Hulu, on DVD from PBS and Amazon, through iTunes, and from Netflix
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What does Sherman have to say about the idea of transformation?
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On the subject of transformation in art, Sherman describes how changing the way she looks has been a lifelong interest (in the forthcoming Season 5 book):

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What happens in Sherman's segment in Transformation?
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“It’s kind of an interesting thing to see yourself,” says Cindy Sherman about discovering her uncanny childhood photo album A Cindy Book (c. 1964–75) as an adult. Sherman decided to update the book by adding circled photos of herself and writing ‘that’s me’ under each, faking more mature handwriting with new additions.

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Where can I see more of her work before the October premiere?
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Cindy Sherman is represented by Metro Pictures in New York. Her most recent series of works can be seen at Gagosian Gallery in Rome through September 19th.

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Channels: Photography

This video is excerpted from the Season 5 episode Transformation premiering on Wednesday, October 21, 2009 at 10pm (ET) on PBS (check local listings).

Whether satirizing society or reinventing icons of literature, art history, and popular culture, the artists in Transformation—Paul McCarthy, Cindy Sherman, and Yinka Shonibare MBE—inhabit the characters they create and capture the sensibilities of our age.

Cindy Sherman was born in 1954 in Glen Ridge, New Jersey. In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives lived out of frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images, relying instead on the viewer’s ability to develop narratives as an essential component of appreciating the work. While rarely revealing her private intentions, Sherman’s investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology and the latest advances in digital photography. Sherman’s exhaustive study of portraiture and self-portraiture—often a playful mixture of camp and horror, heightened by gritty realism—provides a new lens through which to examine societal assumptions surrounding gender and the valuation of concept over style.

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