06.28 — 10.29.18
Gallery 5. Level 2
Opening conference: Wednesday, 27 June, 6:00 p.m.
Opening: Wednesday, 27 June, 6:00 p.m.
An exhibition devoted to two leading figures in contemporary photography, whose work revolutionized the field in the latter half of the 20th century. Divided into two large galleries, the exhibition compares and contrasts the styles of both artists through a selection of 34 photos –most of them large-scale–, from the collection of Oslo's Astrup Fearnley Museum, which, since its founding in 1993, has focused on assembling a vast range of output by leading figures in international contemporary art.
The show will include the most representative series in the careers of each artist, from the late '70s to the present day: for Richard Prince, this means Cowboys and Spiritual America –with Brooke Shields–, for Cindy Sherman, the famous self-portraits of Untitled Film Still[s] and History Portraits.
Cindy Sherman and Richard Prince came out of the movement known as the Pictures Generation, which took shape in the New York scene of the mid-1970s, among artists working with the idea of appropriation of images from popular culture and the mass media. Key figures in the movement, Sherman and Prince are masters of social critique and of transformation in the medium of photography.
Curators: Victoria Giraudo and Gunnar Kvaran. Organized in collaboration with the Astrup Fearnley Museet.
Guided Tours
Thursdays, Fridays and Sundays at 5:00 p.m.
Led by the museum's educational team.
Audioguides
Explore the exhibition through a detailed description of twenty of his works.
Catalogue
As part of the exhibition, Malba is presenting a 110-page catalogue published especially for the occasion. It includes texts by curators Victoria Giraudo and Gunnar B. Kvaran and colour reproductions of all the photographs featured in the exhibition. It is a large-format book with a magazine-like aesthetic, which will be on sale at Malba Tienda and distributed nationally in the country's main bookshops.
In the Press
Elegía para el sueño americano
By Julia Villaro
Revista Ñ, 29/06/2018
Te conozco mascarita
By Marina Oybin
Página 12, 01/07/2018
La fotografía como performance
By Laura Isola
Perfil, 07/072018
La originalidad en el arte, un debate que se abre con la nueva muestra del Malba
By Celina Chatruc
La Nación, 26/06/2018
Images
Top: Richard Prince: Untitled (Cowboy), 1997. Left: Cindy Sherman: Untitled #199A, 1989.
© Astrup Fearnley Collection, Oslo.
Cindy Sherman
United States, 1954.
Sherman developed the famous appropriations of characters that became her trademark, creating scenes based on references to popular aesthetics and common sense ideas, particularly certain female stereotypes taken from cinema, magazines, advertising and the arts. Throughout her career, Sherman has used and manipulated images, inventing new types of imagery that tell stories about women's lives in our societies in an extraordinarily original way. With the help of make-up and prosthetics and a great ability to create a wide range of characters, Sherman uses her own body as a medium and material and fixes these characters in the photographic medium.
Richard Prince
Panamá, 1949.
Prince continually challenges categorisations and the traditional role of the artist through the production of a highly personal mythology. During the 1970s, he worked with the contents of fashion and society magazines, cataloguing their clichés and stereotypes and transforming that iconography into the material for his own work. By re-photographing the images from these publications, focusing on particular elements, he questioned the notion of intellectual property, a radical artistic gesture for the time. Heir to Marcel Duchamp and Andy Warhol, Prince produced his “re-photographs” after pop art had attracted critical interest in mass culture: as a cynical representation of reality and a sharp exploration of American vernacular customs.
