good article on these here). Seeing these very theatrical portraits juxtaposed with the raw vulnerability of the Centerfolds series in the next gallery was a breathtaking contrast. I finished at the beginning, with the photos that first brought Sherman to prominence, the Film Stills. It was great to see these all together in order. I was lucky to be there on a weekday, and there was space to step back and see entire series as a composition. They have a rhythm together that you would never get looking at them individually in a book. Comparing these with her newest work (the Society Portraits in the next gallery), I felt that the artist has great awareness of humanity & inner life, as seen through the lens of the culture she skewers so well.
|Andreas Nottebohm. AN-2001, May 2012, oil on aluminum 29 x 48" at Modernism|
Around the corner from SFMOMA, I stopped in at Modernism, where the works of Andreas Nottebohm (born 1944, Eisenach, East Germany) and Lucien Clergue (born 1934, Arles, France) are on display. While Sherman’s work delves into the inner life of her characters, these works are lovely and very much about the surface. Nottebohm distresses the surface of aluminum panels with power tools, and then paints them with glazes of oil. They have a luminescent holographic quality that has to be seen to be believed. The most interesting (to me) of Clergue’s photographic works were a series of female nudes striped by the shadows of venetian blinds.
|Lucien Clergue. Zebra Nude, 1997. gelatin silver print, at Modernism.|