By Elisabeth Turner, Columnist
Last week, I visited the Museum of Modern Art in Manhattan. All of us have been to the city, and most the museum. But for those who haven’t been there – or haven’t been recently – I must point out that Cindy Sherman’s work is on exhibition display until June 11. Sherman is a conceptual photographer who deals with the superficiality of the various aspects of modern identity. In much of her work, she uses herself as a model and as the central focus. Her “Untitled” collections consist of photographs in which she personifies a particular character through donning makeup and costume. All of her portraits are dark in nature, yet some are mild in aggression. Some scream sexual confusion, while others question women’s role in society. The first work I saw, upon entering the exhibition, was that of a woman standing across from an elegant outdoor stairwell. The woman was wearing heavy pearls and earrings, and the focus of the shot drew attention to her weary red eyes. Her face was coated with foundation, and her lips were stained red. The blush on her cheeks was also noticeable, but even more conspicuous was the series of wrinkles extending from the side of her lip back towards her ear. Immediately, the work impacted me, the message seemingly transparent; modern culture’s obsession with beauty and wealth is hollow, and never brings authentic happiness. I moved on past dozens of similar portraits, looking at each one carefully, until I came to the next room. This one was filled with photos of clowns positioned against various backgrounds, some of the backgrounds were simply a multitude of psychedelic-like colors, others were actual landscapes. Like the photos of the women, each one possessed a sad and artificial quality. I thought that perhaps the nuances of the clown’s makeup indicated the implausibility and often hollow measure of appearances. The last room I entered contained some of Sherman’s most offensive work. One of the images depicted the abdomen and genitalia of both the male and female. Beside each body lay the head, severed from the rest of the body, which was bound by a colorful ribbon knotted in a bow. Another image was void of dimensional human presence entirely – the only elements included were half-eaten cupcakes, a pair of sunglasses reflecting the tormented face of a woman and some vomit. I strolled across the room, looking at every picture, analyzing its contents. Every element of every work gripped my emotions, propelling me further into the realms of reasoning and questioning. I continued to mull it over, until my rationalizing was jolted by the sudden thought that sexual distortion of such an intense nature is not really art. The most general definition of art is “the quality…of what is beautiful, appealing, or of more than ordinary significance.” Thus, perception of what true art really is has obviously changed. Yet, art should still be uplifting and inspiring, even at first impression. Poignancy and melancholy details are undoubtedly some of the very factors that contribute to a piece’s beauty. But is a piece that perverts human identity and sexuality in such an intense and grotesque way truly beautiful? Yes, society and humankind have throughout the ages, continued to condemn and distort sexual identity – this is the very notion Sherman’s work is purported to represent. Her work possesses a deeply moving message, yet its viability for transition from a sexually and cosmetically hollow culture remains questionable. Some students at Hofstra are driven by ambition, some not so much. Some students are scientists, some communications majors – and some are artists, a group of people who are perpetually fascinated by the underlying qualities of humanity or by some aspect of nature. Hofstra students take trips to New York City, some choosing to embrace the opportunities of the most influential city on Earth, while others do not. Student dreams and goals will always vary greatly in scope, but no matter someone’s major or ambition, it’s important to remember the vast and unrelenting appetite our world has for distortions of truth. Darkness is an essential and enhancing element of art and explicit images are a powerful tool of creative minds. But, as Hofstra students, we should take a step back, and remember what truly defines us as humans and what beauty really is. Cindy Sherman’s work is authentic and poignant, but an even greater distortion of sexuality may not be the solution needed to wake up society. Only beauty can renew the world. As Hofstra students, why not let that beauty begin with you?