Cindy Sherman: Works from Friends of the Bruce Museum

January 29th, 2011 – April 23rd, 2011

The Bruce Museum of Arts and Science Education Department develops Educator Guides to provide detailed information on field trip planning, alignment with Connecticut State Goals and Learning Standards, as well as suggested hands-on classroom activities to do before, during, and after your visit to the Museum.

The Bruce Museum of Arts and Science Education Department Presents:

Educator Guide

Teacher Notes: This educator’s guide is separated into the following parts:

Artist Information

Exhibition Guide

Activities and Discussion Questions

Glossary

Teacher Resources

Curriculum Connections

How to Schedule Your Museum Visits

Education Staff List

The Bruce Museum in Greenwich, Connecticut, is pleased to announce its major winter exhibition featuring the work of one of today’s most influential artists, photographer Cindy Sherman. Cindy Sherman: Works from Friends of the Bruce Museum is comprised of approximately 30 works, including large-scale black-and-white and color photographs, drawn from ten local collections in Greenwich and the surrounding communities. The exhibition features the artist’s favored themes and suggests something of the chameleon-like diversity of her art.

Cindy Sherman: Works from Friends of the Bruce Museum is organized by the Bruce Museum and is curated by the Museum’s Adjunct Curator, Kenneth E. Silver. The exhibition will be accompanied by a scholarly catalogue with contributions by Mr. Silver and Bruce Museum Executive Director Peter Sutton, as well as an interview with Linda Nochlin, pioneering feminist art historian and Lila Acheson Wallace Professor at NYU’s Institute of Fine Arts, who discusses Sherman’s fascinating oeuvre at length. The exhibition and its catalogue are underwritten by UBS, The Malcolm Hewitt Wiener Foundation, The Robert Mapplethorpe Foundation, and a Committee of Honor under the leadership of Linda and Steve Munger, Michael Kovner and Jean Doyen de Montaillou, and Honorary Chair Barbara Dalio. Additional support has been provided by the Charles M. and Deborah G. Royce Exhibition Fund.

Before you visit the exhibition, please spend some time viewing the information on the Museum’s website at www.brucemuseum.org.

School programs are inquiry based and promote critical thinking, written, and oral expression. They feature hands-on-learning activities using objects from Museum collections and exhibitions. Many are interdisciplinary and address various learning styles.

For school program information, contact Diane Myers, Manager of School and Tour Services at (203) 413-6742 or by email dmyers@brucemuseum.org For reservations, contact Anne Burns at (203) 413-6744 or by email anneburns@brucemuseum.org

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Artist Information:

Perhaps best known for her elaborately disguised “self-portraits,” Cindy Sherman usually serves as her own model, assuming different roles in various costumes. Although the artist’s photographs are pictures of herself, these images are anything but traditional self-portraits. While conventional portraiture establishes the subject’s identity, Sherman fully hides her own personal identity in her work. She employs images of herself to explore various personae and addresses topical issues of the contemporary world while examining the roles of women and the artist.

Throughout her career, Sherman has continually appropriated and confronted numerous visual genres, including the film still, centerfold, historical portrait, and fashion photography. Sherman’s photographs imitate these representational topics, using them to challenge images in popular culture and the mass media. Cindy Sherman: Works from Friends of the Bruce Museum focuses on a number of key moments in the artist’s remarkable career.

The show opens with a selection of photographs from Sherman’s landmark series of Untitled Film Stills (1977-80). Perhaps the most well known and recognizable works of Sherman’s career, these black-and-white photographs depict stills for films that never existed. In each of these photographs, Sherman places herself in the role of various female character types from B-movies and film noir. By turning the camera on herself, Sherman raises challenging and important questions about the role of women in society and the representation of cultural stereotypes.

The exhibition follows Sherman’s subsequent career through several of her major series, including the Centerfolds, Disasters and Fairy Tales, the History Portraits, Clowns, the Women from California series, and her most recent works, the Rich Women series. In each of these series, the artist continues to manipulate and reprogram her appearance to adopt multiple roles. In 1981, Sherman simultaneously imitated and challenged men's magazine centerfolds in a series of photographs commissioned, but never used, by Artforum. These large-scale photographs adopt the saturated colors, close-cropping and overhead camera angles of the centerfold, while depicting the artist in various female roles, both familiar and unexpected.

Sherman’s later series explore an ever-expanding assortment of archetypal roles and social types. The artist’s Disasters and Fairy Tales (1985-1989) are more fantastical and grotesque than her earlier works. Sherman dons complex disguises and prostheses in these twisted fairy tales, intentionally taking on increasingly frightening and deformed personae. In the late 1980s, Sherman turned to Old Master paintings for inspiration. These History Portraits (1988-1990) depict the artist dressed as figures from famous works by Caravaggio, Raphael, and others. The Rich Women series showcases Sherman’s newest cast of characters, who are immediately recognizable as belonging to the upper echelons of society. These photographs of aging speak to issues of class and presentation.

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Exhibition Guide

Who do you think this person is?

Why do you think she is standing on the side of the road?

How do you think she got there?

What questions would you ask the artist about this artwork?

What can we learn about the artist from this self-portrait?

Bruce Museum Educator’s Guide Exhibition Guide Page 4

Cindy Sherman

Cindy Sherman (1954- ) Untitled Film Still, 1979 Black and white photograph 8 x 10 inches, 20.3 x 25.4 cm Edition of 10 (MP#48) Courtesy of the Artist and Metro Pictures

Exhibition Guide

What do you think this person might be thinking at the moment?

What is she holding in her hand?

Come up with three adjectives that describe this person. Why did you choose those particular words.

Try to recreate the figure’s pose. How does it feel to be in this pose?

What can we learn about the artist from this self-portrait?

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Cindy Sherman

Cindy Sherman (1954- ) Untitled, 1981 Color photograph, 24 x 48 inches, Edition of 10 (MP#96) Courtesy of the Artist and Metro Pictures

Exhibition Guide

Examine the image closely. What words best describe this person’s expression?

Why do you think the artist has created this image?

What can we learn about the artist from this self-portrait?

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Cindy Sherman (1954- ) Untitled, 1989 Color photograph, (image) 48 7/8 x 41 15/16 inches, Edition of 6 (MP# 193) Courtsey of the Artist and Metro Pictures

Activities and Discussion Questions

Look at one of Cindy Sherman’s photographs featured in the exhibition. Imagine you could be transported to the scene in the photograph. Would you want to go there, why or why not? What is the mood at that location? What do you think the atmosphere would be like there (imagine the sounds, smells, other people, etc)?

Many of the photographs included in this exhibition are from private collections and are usually displayed in the collectors’ homes. Imagine you are purchasing one of Cindy Sherman’s photographs included in the exhibition to display in your own home. Which artwork would you choose and why? Where would you display the artwork in your home and why would you choose that particular spot or room?

Find your favorite photograph by Sherman and write a descriptive story about what is happening in the scene. Think about what the person or people in the scene might say if they could speak. Include what may have happened directly before this scene and what might happen directly after this scene.

Create a self-portrait and be sure to think about all the things you need to consider before you begin making your artwork. How would you like to pose? What things would you like included in your self-portrait? What medium would you like your self-portrait created in and why? What will your self-portrait tell viewers about you?

Choose a portrait that you have studied and write from the sitter’s point of view. What do you think he/she was thinking about while the portrait was being completed? What do you think the sitter’s opinion of the finished project was? Now write from the artist’s point of view about the process of creating the portrait. How would the two points of view differ?

Pick one of your favorite photographs and recreate the scene. Pose like the person in the photo. How does the pose feel? What do you think it would be like to stay in that pose for a very long time while being photographed? What do you think the sitter would do or how would he/she move next? Would the sitter be speaking with the artist? What would they be discussing?

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Glossary

Glossary definitions courtesy of Art Lex, www.artlex.com

Contemporary: Current, belonging to the same period of time. Feminism: An art movement that took off in the 1960s, where women are particularly interested in what makes them different from males- what makes women artists and their art different from male artists and their art. Figurative: Describes artwork representing the form of a human, an animal or a thing; any expression of one thing in terms of another thing. Material: The substance(s) or object(s) out of which something is or can be made. Examples include: clays, fibers, glass, papers, plastics, metals, pigments, stones, woods, etc. Photography: The art, craft, and science of producing permanent images of objects on light-sensitive surfaces Portrait: A work of art that represents a specific person, a group of people, or an animal. Self-Portrait: A portrait an artist makes of himself or herself as its subject, often created using a reflection in a mirror.

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Teacher Resources Reference Books:

Cindy Sherman: Centerfolds. Skarstedt Fine Art, 2004.

Barrett, Terry. Criticizing Photographs: An Introduction to Understanding Images. McGraw-Hill Humanities, 2005.

Bright, Susan. Auto Focus: The Self-Portrait in Contemporary Photography. The Monacelli Press, 2010.

Cotton, Charlotte. The Photography as Contemporary Art. New York: Thames & Hudson, 2004.

Cruz, Amanda, Elizabeth A. T. Smith, Amelia Jones. Cindy Sherman: Retrospective. Thames & Hudson, 2000.

Durans, Regis. Cindy Sherman. Flammarion, 2007.

Galassi, Peter. Cindy Sherman: The Complete Untitled Film Stills. New York: Museum of Modern Art, 2003.

Green, Jonathan. American Photography: A Critical History 1945 to Present. New York: Harry N. Abrams, 1984.

Johnson, Brooks ed. Photography Speaks: 150 Photographers On Their Art. Aperture, 2005.

Morris, Catherine and Paul Ha. Cindy Sherman: Working Girl. St. Louis: Contemporary Art Museum, 2006.

Orvell, Miles. American Photography. Oxford University Press, 2003.

Schirmer, Lothar ed. Women Seeing Women: From the Early Days of Photography to the Present. W. W. Norton & Company, 2003.

Sherman, Cindy. Cindy Sherman: A Play of Selves. Hatje Cantz, 2007.

Sills, Leslie. In Real Life: Six Women Photographers. Holiday House, 2002.

Wells, Liz. The Photography Reader. New York: Routledge, 2002.

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Student and Teacher Online Resources

Art 21 Features a biography of the artist, an educators guide, and the video of Sherman featured during Art 21’s 2009 season. www.pbs.org/art21/artists/cindy-sherman/

The Guggenheim Museum Includes lessons and curriculum materials related to modern and contemporary art, features a biography of Sherman as well as images in the Museum’s collection. artscurriculum.guggenheim.org/lessons/start.php

Metro Pictures Features a biography, artwork images, and news articles about Sherman. www.metropicturesgallery.com

Museum of Modern Art A database of contemporary art resources for educators, including images, interactive galleries, and sample lesson plans. www.moma.org/modernteachers/

San Francisco Museum of Modern Art Features the guide, Making Sense of Modern Art, which includes artwork images, artist information, and videos. www.sfmoma.org/multimedia/interactive_features/3

Smithsonian Center for Education and Museum Studies Resources and lesson plans for a variety of art and design topics. www.smithsonianeducation.org/educators/

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Curriculum Connections

Use of the materials in this Educator Guide in combination with a field trip to Cindy Sherman will help you link learning experiences to the following Connecticut Learning Standards. Teachers will need to identify specific goals to map to individual lesson plans or larger units of study. This exhibition is suitable for all students regardless of grade level or learning style.

CT Curriculum Tracemap Connections -Numbers in parentheses correlate with Connecticut Framework-Curriculum Trace Maps Art: Kindergarten

Identifies a work of art by media, techniques, and processes (*1a)

Views prints and original art made from different materials. (e.g. painting, collage, print, sculpture, photography) (*1a, 5b)

Verbalizes and differentiates vocabulary related to media, techniques, processes, tools, and equipment (e.g. paint with a brush and draw with a pencil) (*1a, 1b)

Describes how an art medium can serve as a source of inspiration (*1b, 1c) 1st Grade

Identifies the elements of art: line, shape, color, in works of art (*2a, 2c, 6b)

Identifies a personal preference for a specific work of art from works discussed (*5d)

Discusses why others might prefer different works of art (*5c)

Believes that attending an art exhibit is an enjoyable way to spend leisure time (e.g. art galleries, school exhibit, museums) (*6d)

Recognizes the relationship of objects in a work of art by position and size in a composition (e.g. big and small) (*2b)

2nd Grade

Compares works of art created with a variety of media, tools, and materials (*1a, 1b)

Applies vocabulary related to media, techniques, processes, tools, and equipment (*1c)

Respects the artistic tastes and preferences of classmates (*5c)

Appreciates that art reflects different cultures and people (*4b, 5c)

Discusses how specific elements of art (i.e. line, shape, color) are connected with and applied to specific organizational principles of art (i.e. pattern, texture, rhythm) (*2a, 2b)

Students contrast works of art with a variety of line qualities (2.2.1) Students discuss how geometric shapes and patterns are used by artists in structuring a

composition (2.2.2) 3rd Grade

Evaluates why an artist would choose a specific art medium for a work of art (*5c)

Identifies places in the community where the arts can be viewed or performed (e.g. Bruce Museum of Arts and Sciences)(*6a Aesthetic Appreciation)

4th Grade

Visits local/regional galleries and museums to observe and discuss original works of art (*2a, 2b)

Analyzes and decodes selected works of art and artifacts using appropriate art vocabulary (*5b)

Compares and contrasts reasons for a preference of specific works of art or art styles (*5c, 5d)

Understands artists by learning about the life and times of several (*4a)

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Curriculum Connections (Continued)

5th Grade

Describes how different media, techniques, and processes cause different effects (*1b)

Visits local and regional galleries and museums to observe and discuss original works of art (*2a, 2b)

Identifies and compares styles of art (*2a, 2b) 6th Grade

Observes and discusses styles and themes in a variety of works within the period studied (*4c)

Recognizes and discusses line, shape, color, balance, and space used in different cultures (e.g. French Impressionism, Japanese printmaking, African artifact) (*2b)

Students evaluate a piece of artwork to understand a list how factors of context shape a work (4.6.4)

7th Grade

Discusses the use of color and its impact on a work of art (*3b)

Identifies style and themes in a variety of works in historical and cultural context (*5d)

Enjoys examining the visual arts of other cultures as a way to appreciate their artistic accomplishments (*4a, 6b)

8th Grade

Discusses the purpose and intent of an artist’s work relative to culture, time, and history (*5a)

Appreciates that art can be an important and useful way to communicate ideas (*1c, 6d)

Respects and appreciates art created by both peers and people of other eras and cultures (*5c)

Students discuss and explain who decides if an artistic work is art (5.8.4)

New York State Learning Standards Standard 1 – Creating, Performing and Participating in the Arts

Understand and use the elements and principles of art (line, color, texture, shape) in order to communicate their ideas.

Reveal through their own artwork understanding of how art mediums and techniques influence their creative decisions.

Standard 2 – Knowing and Using Arts Materials and Resources

Take advantage of community opportunities and cultural institutions to learn from professional artists, look at original art, and increase their understanding of art.

Understand the variety of careers related to the visual arts and the skills necessary to pursue some of them.

Standard 3 – Responding to and Analyzing Works of Art

Explain their reflections about the meanings, purposes, and sources of works of art, describe their responses.

Explain the visual and other sensory qualities found in a wide variety of art works.

Explain the themes that are found in works of visual art and how the art works are related to other forms of art.

Explain how ideas, themes, or concepts in the visuals arts are expressed in other disciplines.

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How to Schedule Your Museum Visits

Adult and school groups of 8 or more require advance reservations and are subject to a special group fee.

Museum-Based School programs are available Tuesday through Friday at 10:00 am, 11:15 am, and 1:00 pm

After-School Museum-Based programs are available Tuesday through Friday, last one hour, and start no later than 4:00 pm.

The Bruce Museum is accessible to individuals with disabilities.

Call Bruce Museum Reservations Manager, Anne Burns, at 203-869-6786 ext.338. You may leave a voicemail message at this number at any time. Please leave a choice of times to return your call.

Fees A confirmation/invoice will be mailed four weeks prior to the program. Pre-payment is preferred, however, Museum programs may be paid on day of visit. Payment is by check only, payable to Bruce Museum, Inc. Museum-Based Programs: $45 per program.

Scholarships Thanks to the generosity of our corporate members and sponsors, scholarships are available under special circumstances. Please contact the Museum for more information.

Cancellations There is a $15 charge if cancellation is less than two weeks in advance of the scheduled program.

No Eating Facilities are available at the Museum In case of bad weather, classes will be permitted to eat in the Education Workshop if they reserve the room in advance.

Class Size In order to maintain quality education, classes are limited to 25 students. Pre-school class size is limited to 20 students.

Supervision: REQUIRED for all programs Museum visit: 1 adult for every 5 children, to accompany the children at all times. Self-guided tours: If you would like your class to tour the rest of the Museum before or after the scheduled program, you must tell us when you make your reservation to avoid conflict with other groups. Nametags: Help to personalize program and enhance student behavior.

Conduct In order to enhance everyone's enjoyment of the Museum, please go over these rules with your students in advance:

o Please do not run in the Museum. o Please talk in quiet voices. o Please do not touch paintings or objects

Special requests or curriculum needs All of the programs are flexible and can be adapted to audiences with special needs or to your curriculum objectives. Please discuss with the Museum Education staff in advance.

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Education Department Staff List

Robin Garr Director of Education and Public Programs

(203) 413-6740 rgarr@brucemuseum.org

Diane Myers

Manager of School Programs and Tour Services (203) 413-6741

dmyers@brucemuseum.org

Peter Linderoth Manager of Outreach Education

(203) 413-6742 plinderoth@brucemuseum.org

Anne Burns

Reservations Manager (203) 413-6744

anneburns@brucemuseum.org

Mary Ann Lendenmann Manager of Volunteers

(203) 413-6746 mlendenmann@brucemuseum.org

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