Cindy Sherman
Since the 1970s, Cindy Sherman has mimicked many pictorial genres – the film still, fashion photography, the centerfold, and historical portrait painting. In her work, Sherman uses her own body as a vehicle for commentary on issues of identity and female representation. In the exhibition piece, Untitled, she presents a nightmarish arrangement of fake blood and prosthetic appendages. According to Sherman, her work is not meant to fool, but “prepare the viewer for violence.”
The Dissolve
A paradigm shift in contemporary art is rare and hard to recognize at its inception, but that is what curators Sarah Lewis and Daniel Belasco did in The Dissolve, SITE SANTA FE’s Eighth International Biennial. The curators presented a new sensibility in the art of our time, a mingling of up-to-the-minute technology and traditional visual arts (painting, drawing, and sculpture) with dance, music, and film. The fundamental form of this new work was animation, uniting the technological (the camera) with the handmade (drawing).
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Disparities and Deformations
Disparities and Deformations: Our Grotesque brought together a diverse group of contemporary artworks that respond and give new substance to the sense of emotional and logical uncertainty inherent in the grotesque, described by the 19th-century writer Jean Paul as a state of “soul dizziness.” The exhibition tracked the incongruous combination of disparate forms and ideas in the work of internationally renowned artists of different generations, coming from various cultural contexts, and working with different processes and ideas.
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