Cindy Sherman Poses for Juergen Teller in New Marc Jacobs Campaign – ARTnews.com
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The 40th anniversary of the founding of the company. Marc Jacobs brought together a cast of friends and collaborators for its Spring/Summer 2024 campaign, shot by German photographer Jeurgen Teller. Among the subjects were artist and photographer Cindy ShermanBladee, Lil Uzi Vert & FKA Twigs.
In the series of lo-fi shots, Teller posed each subject solo on the street in front of Marc Jacobs’ lower Manhattan headquarters.
For Sherman’s, which circulated online Wednesday, the septuagenarian artist donned two personas that have appeared in her own work before: one is in full grunge with long faux-brunette hair and legs spread apart, seated on the side of the street. In the other, Sherman is blonde, with gloved hands, standing outside of the brand’s 72 Spring Street entrance, as she balances in platform heels half-a-foot off the ground.
Teller and Sherman have worked together with American designers and photographers Teller for nearly two decades. In 2005,The three published Ohne TitelTeller’s collection of unpublished images of Sherman and him, dressed as twins, was published in 2009. The project derived from Jacobs’s idea to tap the two for an ad campaign. By that time, he’d already been working with Teller since 1997. Barbara Gladstone, a dealer of art, told the New York Times of the project: “The ads are really for people who get it, and I think Marc and Juergen happily dispense with those who don’t.”
Sherman’s feature in the latest campaign coincides with two other major shows of her work on view in the U.S. and Europe.
In New York City earlier this month, she Unveiling a new series at Hauser & Wirth, a group of 30 images in which she manipulates her own portraits by adding in prosthetic features and making digital alterations.
The other titled, “Anti-Fashion,” ongoing until early March at the Deichtorhallen museum in Hamburg, Germany, surveys Sherman’s ties to fashion. The personas she constructs in her photographs have long responded to the industry’s contorted expectations, a curator argued in a catalogue entry accompanying the exhibition, adding that Sherman’s characters “are anything but desirable, and run counter to the fashion world ideals of flawlessness.”