The Family of Man opened to the public on January 24, 1955. It included 503 works by 273 photographers hailing from 68 countries. The United States Information Agency circulated five copies of the exhibition, which were presented at 88 venues in 37 countries around the world over the next decade. In 1994, a version of the exhibition was permanently installed at the Clervaux Castle in Luxembourg, where visitors today can experience the exhibition as it was seen by more than seven million people over the last 60 years. As significant as that audience might be, it pales in comparison with the number of people who have held in their hands one of the 300,000 copies that have been sold of the accompanying catalogue, also first published in 1955.
Posts tagged ‘Cindy Sherman’
At MoMA we strive to enable all visitors to find meaning and pleasure in modern and contemporary art. This includes people who are blind or have low vision, who are able to enjoy the Museum’s collection and special exhibitions via touch and visual description through Touch Tours
As an admirer of both Cindy Sherman and John Waters, I was happy to see a conversation between the artists included in Cindy Sherman, the exhibition catalogue accompanying the Museum’s major retrospective of the artist’s work.
In conjunction with MoMA’s current Cindy Sherman retrospective (on view through June 11), the artist selected films that have informed her artistic practice for a special </i>Carte Blanche: Cindy Sherman</a> film series (which runs April 2–10 in MoMA’s theaters). Below are Cindy Sherman’s comments on the films, as told to Lucy Gallun.</small>
Some of Cindy Sherman’s characters bring an immediate context to mind. You gaze at the picture, and there’s the flood of a specific time and place. A scene forms and the figure becomes the protagonist of a narrative. Others are, at first take, more obscure or bizarre.
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