Revelling in the filth of John Waters

18.09.2015 | Film | BY:

With monickers such as ‘The Pope of Trash’ and ‘The Prince of Puke,’ John Waters hasn’t always been welcomed into the greater film community, but his first UK retrospective at the British Film Institute, running until 6 October, will finally recognise him as one of the industry’s great counter cultural figures. Titled ‘It Isn’t Very Pretty…The Complete Films of John Waters [Every God Damn One of Them]”, the BFI’s month long series will screen not only his entire filmography, but his formative, early short films shown in the UK for the first time. As the ‘godfather of bad taste’, Waters’ films provide a cynical and celebratory take on American popular culture.

Though creative validation has never been a barometer for which Waters has measured himself by, the BFI tribute is nevertheless a fitting celebration of an artist who worked hard to foster an enduring and definitive style in an industry that doesn’t always allow such individuality. The cult director’s influence on art and fashion go far and wide, as seen recently in Jeremy Scott’s Spring/Summer 2016 show in New York which took beauty inspiration his films. Flip through runway shots and you’ll get to see the likes of Bella Hadid and Hollie May Saker as modern day replicas of Waters’ leading ladies –  Debbie Harry, Traci Lords, and Waters’ best collaborator, the late drag performer, Divine (pictured above in Female Trouble).

The BFI series features his entire body of work, including cult classics like Pink Flamingo (1972) and his most commercial offering, Hairspray (1988). May we suggest, however, you take the time to watch Female Trouble (1974), starring Divine as a scorned teenage girl who goes on a crime spree after her parents fail to give her a pair of much coveted ‘cha cha’ heels. Another one to catch is Cry-Baby (1990), a musical romantic comedy set in 1950’s Baltimore that also stars Johnny Depp in his youthful prime.

bfi.org.uk

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Alter Egos

02.03.2012 | Art , Blog | BY:

The metamorphoses of Cindy Sherman knows no boundaries, so it makes sense that an exhibition honouring her work is in a place as vast and all-encompassing as the Museum of Modern Art gallery in New York.

Looking back at her three decades and counting career, the just opened showcase contains over 170 of Sherman’s iconic pieces and portraits, witnessing her take on roles from cinema noir actress to Jean Fouquet’s Madonna of Melun. But Sherman’s countless transformations are beyond pure dress up and trying on a new persona; they are a deep questioning of identity, representation and the role and placement of women in society.

Rather than being solely retrospective, the exhibit is also the first showing of Sherman’s photographic murals from 2010 in America, as well as Carte Blanche: Cindy Sherman, a screening of films made and curated by the conceptual artist, which is fitting considering the strong influence of the medium on her work. The movies will range from horror classic The Texas Chain Saw Massacre to John Waters’ Desperate Living, whilst including Sherman’s short film Doll Clothes and feature film Office Killer.

The extensive display of her work shows that even under wigs, prosthetics and layers of makeup, the real Cindy Sherman is always unmistakably there.

Cindy Sherman is on display until June 11 at The Joan and Preston Robert Tisch Exhibition Gallery, MoMA, 11 West 53 Street, New York, NY 10019
moma.org

 

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