Cindy Sherman’s Fragmented Faces Display A New Approach To Identity

Cindy Sherman displays fragmented faces intricately stitched together reveal process and convey disjunction fill the walls of Hauser & Wirth in SoHo as Cindy Sherman brings her newest body of work to the United States. 

Debuting in Zurich at Hauser & Wirth, the Untitled series is unlike anything Sherman has created before yet maintains her fingerprints. Each work is collaged images, distorted and magnified, of different facial features. Emotions are built through careful arrangement of fragments, with expressions ranging from subdued to theatric. 

Sherman agreed to both exhibitions in 2022 despite facing a period of deep creative block. Looking back at her photo archive, she changed her color portraits into black and white and started cutting them apart. 

Collage led to a new way of representing layers of identity. Sherman furthered this by combining black and white fragments with full color. To ensure dissonance between images remained, she combined monochromatic images digitally and glued color photos on top.

Each image is carefully constructed to approach the line of normalcy. Viewers intuitively attempt to smooth the edges of what they’re seeing leading to an air of discomfort. 

Sherman references cubism in her descriptions, adding that these faces are in motion. The grandiosity and unmistakable femininity are reminiscent of old Hollywood stars combined with Comedy and Tragedy masks. 

Each piece is cropped to show only the face and hair or headdress, no background is visible. Viewers are confronted by an aging, feeling woman. Haphazardly applied lipstick, wigs, fabrics, and towels make up a few of the costumes Sherman used to create persona among her untitled works.

Her work has always been about identity. Looking back to her Untitled Film Stills (1977-1980), she engaged with perception of identity and individual interpretation of one’s identity. Showing that these two factors, or layers, are relative. Again, Sherman deftly uses feeling and perception to draw attention to female aging.

The drama and silliness of these collages as foils for consideration of aging elicit dark humor. “I feel like I’m preparing myself for it,” says the artist, “It’s coming. It’s hanging over all our heads.”

While focusing on female identity, critics have argued that Sherman’s work is in response to the male gaze. After all, some may also argue, could portraits of women exist if men weren’t there to view them? This oversimplification of Sherman’s career both misses the purpose of her work and enforces the need for it.

(Insert Untitled #647, (2023))

When asked about these theories by a New York Times reporter Sherman laughed, responding by saying, “As we age we become a little bit more invisible. So, maybe there is not much gazing going on.” Though, viewers certainly have not forgotten about Sherman. 

Recently, the tide has been turning for female artists and artists of color. Leading to greater appreciation and attention paid to previously overlooked and valuable works, like those belonging to older women. With this, stories we haven’t heard before but can all relate to will play out on the walls of blue chip galleries. The pedestal is no longer reserved for male artists and their nudes, it belongs to silly, playful collages that bring to light those who feel invisible.