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60-703: In 2005, François Pinault bought the Palazzo Grassi from the Fiat Group . This Venetian complex is composed of two distinct buildings, a historical palazzo built along the Grand Canal during the 18th century, and an old theater in ruins, the Teatrino. In 2006, Japanese architect and Pritzker Prize laureate Tadao Ando was commissioned with the Palazzo's renovation. That same year, the new Palazzo Grassi

120-521: A 32,000 square feet modular exhibition surface and a restaurant on the 3rd floor. The French designers Ronan & Erwan Bouroullec were entrusted with the museum's interior and exterior furnishings. The museum opened on 22 May 2021. The Palazzo Grassi and the Punta della Dogana in Venice have been Pinault Collection's main exhibition sites since 2006. Pinault Collection pieces have been presented outside of

180-491: A 32-page insert Sherman did for POP using vintage clothes from Chanel ’s archive, a more recent series of large-scale pictures from 2012 depict outsized enigmatic female figures standing in striking isolation before ominous painterly landscapes the artist had photographed in Iceland during the 2010 eruptions of Eyjafjallajökull and on the isle of Capri. In 2017, she collaborated on a "selfie" project with W Magazine that

240-707: A 600-seat outdoor theatre. In 1990, the architect Aldo Rossi received the Pritzker Architecture Prize in this building. In May 2005, the French entrepreneur François Pinault bought the Palazzo Grassi for 29 million euros. The remodeling of the building was assigned to the Japanese architect Tadao Ando . The Palazzo reopened in April 2006 with the exhibit Where Are We Going? . The Palazzo

300-528: A body made of prosthetic. Her face is the only part of her that shows but is covered by a gas mask meant to emphasize the parts of the female body that tend to be over-sexualized. "I'm trying to erase myself more than identify myself or reveal myself. That's a big, confusing thing that people have with my work: they think I'm trying to reveal these secret fantasies or something. It's really about obliterating myself within these characters." —Cindy Sherman Between 2003 and 2004, Sherman produced

360-588: A friend. The shots were also largely taken in her own apartment. The Untitled Film Stills fall into several distinct groups: The Museum of Modern Art in Manhattan purchased the series for an estimated $ 1 million in 1995. Untitled Film Still #21 was listed as one of the 100 influential photographs by TIME Magazine . In addition to her film stills, Sherman has appropriated a number of other visual forms—the centerfold, fashion photograph, historical portrait, and soft-core sex image. These and other series, like

420-554: A major retrospective of Sherman's works from the mid-1970s to the present. In 2024, at the Goulandris Museum of Cycladic Art , Athens, Sherman's first exhibition in Greece was held, gathering together over a hundred of her early works. In Sherman's Imitation of Life series of 2016 she poses, in vintage costume and theatrical makeup, as a variety of ageing actress-like women. When writing about Sherman's "Film Stills" in

480-420: A man opening up the magazine suddenly look at it with an expectation of something lascivious and then feel like the violator that they would be looking at this woman who is perhaps a victim. I didn't think of them as victims at the time... Obviously I'm trying to make someone feel bad for having a certain expectation". She explained to The New York Times in 1990, "I feel I'm anonymous in my work. When I look at

540-512: A monograph by Rizzoli. For Balenciaga , Sherman created the six-image series Cindy Sherman: Untitled (Balenciaga) in 2008; they were first shown to the public in 2010. Also in 2010, Sherman collaborated with Anna Hu on a design for a piece of jewelry. She returned to working with Teller on Marc Jacobs' Spring/Summer 2024 campaign. In the early 1990s, Sherman worked with Minneapolis band Babes in Toyland , providing photographs for covers for

600-562: A range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model. Bus Riders (1976–2000) is a series of photographs that feature the artist as a variety of meticulously observed characters. The photographs were shot in 1976 for the Bus Authority for display on a bus. Sherman used costumes and make-up, including blackface , to transform her identity for each image, and

660-501: A result reminiscent of stills typical of Italian neorealism or American film noir of the 1940s, 1950s and 1960s. Sherman avoided putting titles on the images in order to preserve their ambiguity. She would often pose her heroines as alone, expressionless, and in private. An overarching characteristic of her heroines were those that did not follow conventional ideas of marriage and family; they were rebellious women who either died as that or who were later tamed by society. In this series,

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720-642: A series of advertisements for her store, Dianne B., that appeared in several issues of Interview magazine . Sherman also created photographs for an editorial in Harper's Bazaar in 1993. In 1994, she produced the Post Card Series for Comme des Garçons for the brand's autumn/winter 1994–95 collections in collaboration with Rei Kawakubo . In 2006, Sherman created a series of fashion advertisements for designer Marc Jacobs . The advertisements themselves were photographed by Juergen Teller and released as

780-406: A shared interest in arranging bodies, like a puppeteer, in diorama-like scenes. According to author Dahlia Schweitzer , Office Killer is full of unexpected characters and plot twists. Schweitzer considers the film to be a comedy, horror, melodrama, noir, feminist statement, and an art piece. The film got negative reviews. In a review for The New York Times , art critic Roberta Smith states that

840-452: A youth- and status-obsessed culture. Her exhibition at the Museum of Modern Art in 2012 also presented a photographic mural (2010–11) accompanied by films selected by Sherman. In this mural, she photoshopped her face with a decorative backdrop to transform herself into a fictitious environment. Along with other characters, Sherman toys with the idea of reality and fantasy together. Based on

900-592: Is able to give the white characters she impersonates a real range of skin tones and facial features. This didn't look like irony to me. It looked like a stale visual myth that was still in good working order." Other early works involved cutout figures, such as the Murder Mystery and Play of Selves. In her landmark photograph series Untitled Film Stills , (1977–80), Sherman appears as B-movie and film noir actresses. When asked if she considers herself to be acting in her photographs, Sherman said, "I never thought I

960-431: Is an American artist whose work consists primarily of photographic self-portraits , depicting herself in many different contexts and as various imagined characters. Her breakthrough work is often considered to be the collection Untitled Film Stills , a series of 70 black-and-white photographs of herself evoking typical female roles in performance media (especially arthouse films and popular B-movies ). Sherman

1020-515: Is divided in 40 rooms, providing 5,000 m of exhibition floor. Jean-Jacques Aillagon was the museum's first director. In 2007, François Pinault acquired the Punta della Dogana to transform it into a contemporary art museum paired with the Palazzo Grassi. The replanning of the building, which was in disrepair when acquired, was also assigned to Tadao Ando. The Punta della Dogana reopened after 14 months of renovation. In 2013, Tadao Ando redesigned

1080-572: Is the president. The Venetian sites (Palazzo Grassi, Punta della Dogana, Teatrino) are held and managed by Palazzo Grassi S.p.A. The city of Venice holds a non-controlling stake of Palazzo Grassi S.p.A. and is a member of the board. As of 2019, the collection contained 5,000 pieces of 20th and 21st century artists, including works from Willem de Kooning , Piet Mondrian , Agnes Martin , Mark Rothko , Richard Serra , Damien Hirst , Takashi Murakami , Jeff Koons , Cy Twombly , and Cindy Sherman . Palazzo Grassi Palazzo Grassi (also known as

1140-525: The Clowns cycle, where the use of digital photography enabled her to create chromatically garish backdrops and montages of numerous characters. Set against opulent backdrops and presented in ornate frames, the characters in Sherman's 2008 untitled Society Portraits are not based on specific women, but the artist has made them look entirely familiar in their struggle with the standards of beauty that prevail in

1200-673: The Palazzo Grassi-Stucky ) is a building in the Venetian Classical style located on the Grand Canal of Venice ( Italy ), between the Palazzo Moro Lin and the campo San Samuele . During the 16th century, the building was owned by the Cini family. In February 1605, Alamanno Aragon Hocheppan, grandson of Cosimo I , acquired it. The Grassi family first moved in the building in 1655. The Palazzo Grassi

1260-1106: The Serpentine Gallery in London and the Scottish National Gallery of Modern Art (2003), and Martin-Gropius-Bau in Berlin (2007), among others. Major traveling retrospectives of Sherman's work have been organized by the Museum Boymans-van Beuningen in Rotterdam (1996); the Museum of Contemporary Art, Los Angeles and the Museum of Modern Art in New York (1997), which was sponsored by Madonna ; and Kunsthaus Bregenz , Austria, Louisiana Museum for Moderne Kunst , Denmark, and Jeu de Paume in Paris (2006–2007). In 2009, Sherman

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1320-726: The Venice Biennale (1982, 1995); and five Whitney Biennials . In addition to numerous group exhibitions, Sherman's work was the subject of solo exhibitions at the Stedelijk Museum in Amsterdam (1982), Whitney Museum of American Art in New York (1987), Kunsthalle Basel (1991), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1995), the San Francisco Museum of Modern Art (1998),

1380-743: The 1980s Fairy Tales and Disasters sequence, were shown for the first time at the Metro Pictures Gallery in New York City. It was with her series Rear Screen Projections , 1980, that Sherman switched from black-and-white to color and to clearly larger formats. Centerfolds/Horizontals , 1981, are inspired by the center spreads in fashion and pornographic magazines. The twelve (24 by 48 inches) photographs were initially commissioned — but not used — by Artforum 's Editor in Chief Ingrid Sischy for an artist's section in

1440-654: The Center for Exploratory and Perceptual Arts, and Artpark , in nearby Lewiston, N.Y . It was in Buffalo that Sherman encountered the photo-based conceptual works of artists Hannah Wilke , Eleanor Antin , and Adrian Piper . Along with artists like Laurie Simmons , Louise Lawler , and Barbara Kruger , Sherman is considered to be part of the Pictures Generation . She graduated with a BA in 1976. Sherman works in series, typically photographing herself in

1500-490: The French National Heritage), as well as Lucy Niney and Thibault Marca of NeM agency, and Setec Bâtiment for the engineering of the project. The façades, the roof and the circular painting in the building's dome were rehabilitated. A 30-feet high and 100-feet in diameter concrete cylinder built beneath the central cupola serves as the main exhibition gallery, a "building within a building". The project covers

1560-676: The Pinault's museums thanks to a blue-chip artwork loan program available to both French and international art institutions, along with offsite exhibitions in different cities. The Pinault Collection artist-in-residence program was set up in 2015 in Lens , a former mining city in the North of France where the Louvre opened a local branch known as the Louvre-Lens . An old rectory was converted into

1620-462: The Teatrino into a 225-seat auditorium. The Palazzo Grassi was designed by Giorgio Massari . The main stairwell was frescoed by Michelangelo Morlaiter and Francesco Zanchi. The ceilings were decorated by Giovanni Battista Canal and Christian Griepenkerl . 45°26′01″N 12°19′40″E  /  45.43361°N 12.32778°E  / 45.43361; 12.32778 Cindy Sherman Cynthia Morris Sherman (born January 19, 1954)

1680-411: The albums Fontanelle and Painkillers , creating a stage backdrop used in live concerts, and acting in the promotional video for the song "Bruise Violet." She also worked as a film director. Sherman moved from photographs to film with her movie Office Killer in 1997, starring Jeanne Tripplehorn , Molly Ringwald and Carol Kane . Dorine, played by Carol Kane, is a stand-in for Sherman. They have

1740-455: The building had been abandoned for over 30 years. The new museum boasts a 54,000 square feet exhibition area and was inaugurated in 2009. Following the Palazzo Grassi (2006), and Punta della Dogana (2009) restorations, Pinault's cultural project for Venice continued with the rehabilitation of the Palazzo Grassi's Teatrino. Completed in 2013 and led by Tadao Ando, the project included a new auditorium of 200+ seats. The Teatrino had been closed to

1800-543: The catalog essay by Philipp Kaiser for Sherman's 2016 exhibition at the Metro Pictures Gallery, he mentioned six short films that Sherman made while in college, and how they were the precursors that eventually led to Office Killer being created. The catalog also includes a conversation between Sherman and the director of the exhibit, Sofia Coppola , in which Sherman admits that she may star in an upcoming film project. Sherman's first solo show in New York

1860-418: The cutout characters were lined up along the bus's advertising strip. Some critiques say that this work showed insensitivity to race through the use of blackface makeup while others state that it was rather with the intention of exposing racism embedded in society. The American theatre critic Margo Jefferson has written, "[The African-American figures] all have nearly the same features, too, while Ms. Sherman

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1920-898: The divas of old Hollywood , such as Gloria Swanson , Mary Pickford , and Ruby Keeler . The series was exhibited in 2016 at the Metro Pictures Gallery in New York City, and also at the Broad Museum in Los Angeles. In 2017 it was shown at the Spruth Magers gallery in Berlin, Germany , and at the Wexner Center for the Arts in Columbus, Ohio. In 2019, the National Portrait Gallery, London , organized

1980-403: The film includes several artistically executed murder scenes. Office Killer grossed $ 37,446 and received generally poor reviews, which called the film "crude" and "laugh-free." In 2009, Paul Hasegawa-Overacker and Tom Donahue completed a feature documentary, Guest of Cindy Sherman, about the former's relationship with Sherman. She was initially supportive, but later opposed the project. In

2040-587: The film lacks the artist's usual finesse and is a retrospective of her work - "a fascinating if lumpish bit of Shermaniana." Movie critic colleague to Roberta Smith, Stephen Holden, called the film "sadly inept." Later, she had a cameo role in John Waters ' film Pecker , and also appeared in The Feature in 2008, starring ex-husband Michel Auder , which won a New Vision Award. Echoing similar grisly and gory elements as her Untitled Horror series,

2100-675: The first time. Provoked by the 1989 NEA funding controversy involving photographs by Robert Mapplethorpe and Andres Serrano at the Corcoran Gallery of Art , as well as the way Jeff Koons modeled his porn star wife in his "Made in Heaven" series, Sherman produced the Sex series in 1989. For once she removed herself from the shots, as these photographs featured pieced-together medical dummies in flagrante delicto . Between 1989 and 1990, Sherman made 35 large, color photographs restaging

2160-475: The gaze seems to come from another subject – "usually a man" – to highlight the concept of the male gaze . Modest in scale compared to Sherman's later cibachrome photographs, they are all 8 1/2 by 11 inches, each displayed in identical, simple black frames. Sherman used her own possessions as props, or sometimes borrowed, as in Untitled Film Still #11 in which the doggy pillow belongs to

2220-469: The journal October , the scholar Douglas Crimp states that Sherman's work is "a hybrid of photography and performance art that reveals femininity to be an effect of representation." However, Sherman does not consider her work or herself to be feminist, stating "The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff." Many scholars emphasize

2280-491: The lens ... When I see what I want, my intuition takes over—both in the 'acting' and in the editing. Seeing that other person that’s up there, that’s what I want. It's like magic." The series Untitled Film Stills (1977–1980), with which Cindy Sherman achieved international recognition, consists of 69 black-and-white photographs. The artist poses in different roles (librarians, hillbillies, and seductresses), and settings (streets, yards, pools, beaches, and interiors), producing

2340-541: The lower mercantile openings typical of many Venetian patrician palaces. The main stairwell is frescoed by Michelangelo Morlaiter and Francesco Zanchi, and the ceilings are decorated by the artists Giambattista Canal and Christian Griepenkerl . The Palazzo Grassi was the last palace to be built on the Grand Canal before the fall of the Venetian Republic , and the largest-sited. The Grassi family sold

2400-491: The magazine. She poses either on the floor or in bed, usually recumbent and often supine. About her aims with the self-portraits, Sherman has said: "Some of them I'd hope would seem very psychological. While I'm working I might feel as tormented as the person I'm portraying." In 1982, Sherman began her Pink Robes series which includes Untitled #97, #98, #99 and #100. In Fairy Tales , 1985, and Disasters , 1986–1989, Cindy Sherman uses visible prostheses and mannequins for

2460-532: The main residency building. The following artists went through the program: François Pinault created the Pierre Daix Artbook Prize in 2015, honoring his late friend, the writer and Picasso's biographer Pierre Daix . The Pinault Collection awards yearly one outstanding book on modern and contemporary art history with 10 000 euros. Previous winners were: Pinault Collection is a private company held by Pinault's Groupe Artémis . François Pinault

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2520-550: The palazzo in 1840, with ownership that followed passing through many different individuals. In 1857, the building was bought by Baron Simeone De Sina. A small scenic garden was created adjacent to the building. In 1951, the building became the International Centre of Arts and Costume. The adjacent garden was turned into an open-air theatre (Teatrino), which was finally covered in the 1960s. The International Centre for Arts and Costume closed in 1983. The Palazzo

2580-482: The pictures, I never see myself; they aren't self-portraits. Sometimes I disappear." She describes her process as intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants. She has said of her process, "I think of becoming a different person. I look into a mirror next to the camera…it’s trance-like. By staring into it I try to become that character through

2640-668: The public since 1983. In April 2016, François Pinault and the Council of Paris announced plans to convert the city's landmark building Bourse de Commerce into a contemporary art museum. The renovation project reportedly cost over 100 million euros. The museum will host around 10 exhibitions per year. According to François Pinault, the new museum will work in coordination with its Venetian sister museums. Collaborations with other Parisian art institutions are also planned. François Pinault entrusted Tadao Ando again for this renovation. He teamed up with Pierre-Antoine Gatier (architect-in-chief of

2700-415: The relationship Cindy Sherman's work has with the concept of the gaze . In particular, scholars like Laura Mulvey have analyzed Sherman's Untitled series in relation to the male gaze . In a 1991 essay on Sherman, Mulvey states that ″the accouterments of the feminine struggle to conform to a facade of desirability haunt Sherman's iconography,″ which functions as a parody of different voyeurisms captured by

2760-400: The settings of various European portrait paintings of the fifteenth through early 19th centuries under the title History Portraits . Sherman uses prosthetic limbs and mannequins to create her Sex Pictures series (1992). Hal Foster , an American art critic, describes Sherman's Sex Pictures in his article Obscene, Abject, Traumatic as "[i]n this scheme of things the impulse to erode

2820-883: The subject and to tear at the screen has driven Sherman […] to her recent work, where it is obliterated by the gaze." Reviewer Jerry Saltz told New York magazine that Sherman's work is "[f]ashioned from dismembered and recombined mannequins, some adorned with pubic hair, one posed with a tampon in vagina, another with sausages being excreted from vulva, this was anti-porn porn, the unsexiest sex pictures ever made, visions of feigning, fighting, perversion. … Today, I think of Cindy Sherman as an artist who only gets better." Greg Fallis of Utata Tribal Photography describes Sherman's Sex Pictures series and her work as follows: "With her Sex Pictures , Sherman posed medical prostheses in sexualized positions, recreating—and strangely modifying—pornography. An example of this can be seen in her work entitled Untitled,#264. Sherman displays herself with

2880-483: The woods I better deal with it early.’ Luckily we never had to do that." She spent the remainder of her college education focused on photography. Though Sherman had failed a required photography class as a freshman, she repeated the course with Barbara Jo Revelle, whom she credited with introducing her to conceptual art and other contemporary forms. At college she met Robert Longo , a fellow artist who encouraged her to record her process of "dolling up" for parties. This

2940-452: Was acting. When I became involved with close-ups I needed more information in the expression. I couldn't depend on background or atmosphere. I wanted the story to come from the face. Somehow the acting just happened." Many of Sherman's photo series, like the 1981 Centerfolds, call attention to stereotypes of women in society, films, television and magazines. When talking about one of her centerfold pictures Sherman stated, "In content I wanted

3000-464: Was based on the concept of the "plandid", or "the planned candid photograph". Sherman utilized a variety of photo-correction apps to create her Instagram portraits. From 2019 she showed self-portraits executed as tapestries by a Belgian workshop. Sherman's career has also included several fashion series, including designs for Prada, Dolce & Gabbana, and Marc Jacobs. In 1983, fashion designer and retailer Dianne Benson commissioned her to create

3060-479: Was born in 1954, in Glen Ridge, New Jersey , the youngest of the five children of Dorothy and Charles Sherman. Shortly after her birth, her family moved to the township of Huntington , Long Island. Her father worked as an engineer for Grumman Aircraft . Her mother taught reading to children with learning difficulties. Sherman has described her mother as good to a fault, and her father as strict and cruel. She

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3120-500: Was designed by Giorgio Massari , and rebuilt between 1748 and 1772. Massari started the Palazzo while he was finishing the Ca' Rezzonico on the opposite bank of the river. A latecomer among the palaces on the Grand Canal of Venice , Palazzo Grassi has an academic classical style that is in contrast to the surrounding Byzantine Romanesque and Baroque Venetian palazzi. It has a formal palace façade, constructed of white marble, but lacks

3180-577: Was inaugurated with an exhibition of artwork from the Pinault Collection. A year after the Palazzo Grassi opening, the Venice city council organized a competition to convert the 16th century custom house Punta della Dogana into a contemporary art museum. François Pinault won the competition over the Solomon R. Guggenheim Foundation . Pinault enlisted Tadao Ando once again for renovations, as

3240-597: Was included in the seminal show " The Pictures Generation , 1974–1984" at the Metropolitan Museum of Art . In 2012, the Museum of Modern Art mounted Cindy Sherman, a show that chronicled Sherman's work from the mid-1970s on and include more than 170 photographs. The exhibition travelled to the San Francisco Museum of Modern Art and the Walker Art Center in Minneapolis. In 2013, Sherman

3300-430: Was invited to organize a show within that year's Venice Biennale . In 2016, after a sabbatical from her studio which was spent "coming to terms with health issues and getting older," Sherman produced and staged her first photo gallery in five years. The series, "The Imitation of Life," named after a 1959 melodrama by Douglas Sirk , tackles aging by presenting Sherman in highly stylized glamour portraits inspired by

3360-558: Was nothing more to say [through painting]", she recalled. "I was meticulously copying other art, and then I realized I could just use a camera and put my time into an idea instead." Sherman has said about this time: "One of the reasons I started photographing myself was that supposedly in the spring one of my teachers would take the class out to a place near Buffalo where there were waterfalls and everybody romps around without clothes on and takes pictures of each other. I thought, ‘Oh, I don't want to do this. But if we're going to have to go to

3420-531: Was presented at a noncommercial space The Kitchen in 1980. When the Metro Pictures Gallery opened later that year, Sherman's photographs were the first show. "Untitled Film Stills" were shown first at the non-profit gallery Artists Space where Sherman was working as a receptionist. Her first solo exhibitions in France were presented by Galerie Chantal Crousel in Paris. Sherman has since participated in many international events, including SITE Santa Fe (2004);

3480-400: Was purchased by the Fiat Group in 1983, under the late chairman Gianni Agnelli , and it underwent a complete restoration overseen by architect Gae Aulenti . The group's aim was to transform Palazzo Grassi into an exhibition hall for the visual arts. It continues to be used as an art gallery today. Between 1984 and 1990, Pontus Hultén was in charge of the art museum which also contained

3540-457: Was raised Episcopalian . In 1972, Sherman enrolled in the visual arts department at Buffalo State University , where she majored in painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing. Frustrated with what she saw as the limitations of painting as a medium of art, she abandoned it and took up photography. "[T]here

3600-545: Was the beginning of her Untitled Film Stills series. In 1974, together with Longo, Charles Clough and Nancy Dwyer , she created Hallwalls , an arts center intended as a space that would accommodate artists from diverse backgrounds. Sherman was also exposed to the contemporary art exhibited at the Albright-Knox Art Gallery , the two Buffalo campuses of the SUNY school system, Media Studies Buffalo, and

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