m.snowe went for her monthly bit o’ culture yesterday at the Met, which is technically free (they use the word “recommend” when soliciting “donations” in size 2 font on the ten-foot-high board of admissions prices). Sometimes m.snowe feels like the free visit isn’t worth it, after trekking to the UES and maneuvering the scads of sweaty tourists. But this time, there were three special exhibits that actually made the trip more than well worth it. When you come away with a new thought or the name of some artist you actually want to learn more about, that’s a good sign. So the best one in m.snowe’s humble opinion was the exhibit on the “Pictures Generation 1974-1984.” m.snowe’s more of a “European Paintings” section person (minus the scary jesus crucifixion art rooms) when it comes to where she wanders about the Met on the weekend, so you know that if she’s talking about photography here, it’s not half bad. By far the best part of the pictures that thrilled m.snowe were Cindy Sherman’s pieces, of which they had many. If you look her up on google, you might come across a few unfortunate clown photos…but the better ones belong to her collection of “film stills” where she recreates b-movie and noir scenes in black and white. The film stills are simultaneoulsy familiar and completely foreign–they are a staged lie and a curious fakery. Also, a lot of her photos are just eerily awesome (i.e. see above, and yes, that is a really professional and arty way to describe them). m.snowe is sure there are many interesting, intellectual things going on in these photos, including the photographer’s own (slightly feminist?) take on the subjection of women to the “male gaze.” But let’s just let you have a look, shall we?
This little series of photos is making another feminist comment, and let’s let it speak for itself too:
(the exhibit had an extra photo that this google image doesn’t include–the extra would have been the third to last on the bottom right, and was just a black photo[…which represented, well… climax]. Is it a comment on female censorship that none of the images online included that additional frame that the actual piece at the Met contains?)
If you’re interested in seeing more of Sherman’s work, go here.