154
辛迪·舍曼
Untitled
- 估價
- £6,000 - 8,000
拍品詳情
Two transparencies printed in colours, superimposed in a black painted aluminium electrical lightbox.
1989
80 x 60 x 8.5 cm (31 1/2 x 23 5/8 x 3 3/8 in.)
Signed in blue ink and annotated 'B.A.T.' in black ink on the accompanying label (the bon á tirer or 'good-to-print' copy before the edition of 24 and 5 artist's proofs), published by Edition Schellmann, Munich and New York.
專家
完整圖錄內容
圖錄文章
"… With an almost uncanny sense of our culture's concerns, Sherman is always one step ahead, providing a mirror of our fears, expectations, and obsessions."
- Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 314
- Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 314
文學
辛迪·舍曼
American | 1954Seminal to the Pictures Generation as well as contemporary photography and performance art, Cindy Sherman is a powerhouse art practitioner. Wily and beguiling, Sherman's signature mode of art making involves transforming herself into a litany of characters, historical and fictional, that cross the lines of gender and culture. She startled contemporary art when, in 1977, she published a series of untitled film stills.Through mise-en-scène and movie-like make-up and costume, Sherman treats each photograph as a portrait, though never one of herself. She embodies her characters even if only for the image itself. Presenting subversion through mimicry, against tableaus of mass media and image-based messages of pop culture, Sherman takes on both art history and the art world.Though a shape-shifter, Sherman has become an art world celebrity in her own right. The subject of solo retrospectives across the world, including a blockbuster showing at the Museum of Modern Art, New York, and a frequent exhibitor at the Venice Biennale among other biennials, Sherman holds an inextricable place in contemporary art history.
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