At 2pm, on Tuesday April 26th.
Art in the 21st Century is the only series on United States television to focus exclusively on contemporary visual art and artists. It was created to make contemporary art more accessible to the public, and to document 21st-century art and artists from the artists’ own perspectives. Their overall goal is to raise the profile of major players in the world of contemporary art and to encourage creativity. Featuring this episode, Doris Salcedo and Cindy Sherman.
Doris Salcedo was born in 1958 in Bogotá, Colombia. Salcedo earned a BFA at Universidad de Bogotá Jorge Tadeo Lozano (1980) and an MA from New York University (1984). Salcedo’s understated sculptures and installations embody the silenced lives of the marginalized, from individual victims of violence to the disempowered of the Third World. Although elegiac in tone, her works are not memorials: Salcedo concretizes absence, oppression, and the gap between the disempowered and powerful. While abstract in form and open to interpretation, her works serve as testimonies on behalf of both victims and perpetrators. Even when monumental in scale, her installations achieve a degree of imperceptibility—receding into a wall, burrowed into the ground, or lasting for only a short time. Salcedo’s work reflects a collective effort and close collaboration with a team of architects, engineers, and assistants and—as Salcedo says—with the victims of the senseless and brutal acts to which her work refers. Doris Salcedo lives and works in Bogotá, Colombia.
Cindy Sherman was born in 1954 in Glen Ridge, New Jersey. Sherman earned a BA from State University College, Buffalo, New York (1976). In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives lived out of frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images, relying instead on the viewer’s ability to develop narratives as an essential component of appreciating the work. While rarely revealing her private intentions, Sherman’s investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology and the latest advances in digital photography. Sherman’s exhaustive study of portraiture and self-portraiture—often a playful mixture of camp and horror, heightened by gritty realism—provides a new lens through which to examine societal assumptions surrounding gender and the valuation of concept over style. Cindy Sherman lives and works in New York.
