Two collections of lesser-known work by iconic photographer Cindy Sherman sewn together, The Vivisector examines the human form at its most vulnerable, pliable and downright mutilated; the result is fascinating, if a little on the side of disturbing.
The title of her earlier work, Sex Pictures, goes some if not all the way to explaining the subject matter, subverting the assumed erotic slant by the use of mannequins and prosthetics in its depiction of the body. Continuing the theme of self image in a thoroughly twisted manner is the monochrome second collection Broken Dolls, in which all manner of horrible fates have been visited upon the models by the photographer. If this were the work of a child, there would be some heavy duty psychotherapy in the offing.
Her spliced collection, on display at Grafton Street’s Sprüth Magers London, is joined by the surrealist creations of such artists as Morton Bartlett, Georges Bataille, Hans Bellmer, Bruce Nauman and Frederick Sommer, and will be accompanied by Offenbach’s unsuitably childlike The Doll Song, lending an eerie backdrop to the whole affair. On display until January 26 next year.
Cindy Sherman
Untitled, #316, 1995
Color photograph
121,9 x 81,3 cm
48 x 32 inches
Courtesy of the artist, Metro Pictures
and Sprüth Magers Berlin London
Frederick Sommer
Valise d’Adam, 1949
Gelatin silver print on board mount
23,8 x 18,9 cm
9 3/8 x 7 7/16 inches
Courtesy of The Frederick and Frances Sommer Foundation
and Sprüth Magers Berlin London
Hans Bellmer
We Follow Her with Slow Steps, 1937
Hand-coloured gelatin silver print on masonite mount
148 x 100 cm
58 1/4 x 39 3/8 inches
Courtesy of Ubu Gallery
and Sprüth Magers Berlin London
Cindy Sherman
Untitled, #342, 1999
B/W photograph
64,8 x 97,8 cm
25,5 x 38,5 inches
Courtesy of the artist, Metro Pictures
and Sprüth Magers Berlin London
Cindy Sherman
Untitled, #348, 1999
B/W photograph
97,8 x 66 cm
38 1/2 x 26 inches
Courtesy of the artist, Metro Pictures
and Sprüth Magers Berlin London
