Vertigo, The Making of a Hitchcock Classic, 1998
…Bernard’s work demonstrates the power of location to evoke the memory of a film–perhaps most provocatively with Vertigo, a film itself concerned with memory...
Continue Reading
Frankfurter Allgemeine Zeitung (FAZ), 1997
Ebner, Jorn, Cindy Bernard, Giuseppe Gabellone, Christine Borland, Frankfurter Allgemeine Zeitung, April 26, 1997
Continue Reading
Border Crossings, 1996
In Ask the Dust, Bernard is the surrogate and the solitary traveller. Her images of the fictional are not appropriations; they are real. It is essential...
Continue Reading
Hall of Mirrors, Art and Film Since 1945, 1996
Travelled to: Museum of Contemporary Art, Los Angeles (1996), Wexner Center for the Arts (1996-97), Palazzo della Esposizioni (1997), MCA, Chicago (1997-98). Catalogue excerpt coming...
Continue Reading
Art Monthly, 1995
Two apparently diverse national myths of land and people are explored in recent photographic exhibitions by Cindy Bernard and John Kippin….the work of both photographers...
Continue Reading
James Hockey Gallery, Surrey Institute of Art and Design, 1995
Curated by Andrew Cross. Travelled to Viewpoint Photography Gallery, Manchester, England Catalogue excerpt: Durden, Mark, Screen Memories, 1995
Continue Reading
Logic of Concealment, 1994
….The Grid outlines a telary network that doubles the actual path a letter takes from point A to point B. It also plays heavily on...
Continue Reading
Security Envelopes, Center for Creative Photography, 1993
Since the late nineteenth century, the technical capability of photography to accurately describe and convincingly distort the visual world has exponentially increased. It is only...
Continue Reading
Ask the Dust, Exhibit A, Serpentine Gallery, 1992
…Once included in the complex narrative of a particular film, the landscapes have often become symbolic of a particular vision of America. The vision, once...
Continue Reading