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?