Contemporary art, more than ever, is an intermediary world navigated between the public and private spheres of life. Nan Goldin and Cindy Sherman began to foray into this realm in the 1980’s as aliens in an even stranger, modern world. Sherman’s photographs depict the artist in domestic scenes, a hyperbolic glimpse of the voyeurism directed at women on screen. She furthers the hyperbole in later photographs of fashion model spreads and fetish dolls with inflated genitals where lurid colors allude to modern-day horror films. In the scenes the female figure seems trapped within the frame, a rigid, unforgiving structure. Goldin approaches photography from a biographical point-of-view. In contrast with the social implications of Sherman’s work, Goldin seems to be saying, “look I (we) exist.” Goldin captures scenes of drug use, domestic abuse and relationships in a candid light and supplants the boundary between public and private in the tumult that is 70’s and 80’s New York. We resist the urge to assume these narratives are exaggerated. Both artists capture a simultaneous public and private world of women who long for a secure but so-far-unattainable place.
“Entrance.” Photography. 2015. see more of my work in the gallery.
Untitled No.92. 1981. Cindy Sherman.