Paris, Jeu de Paume, Cindy Sherman, May 16 – September 3, 2006, then traveled to Bregenz, Kunsthaus Bregenz (November 25, 2006 - January 14, 2007), Humlebæk, Louisiana Museum of Modern Art (February 9 – May 13, 2007), Berlin, Martin-Gropius-Bau (June 15 - September 10, 2007) (another example exhibited)
Rome, Galleria nazionale d'arte moderna, Donna: Avanguardia Femminista Negli Anni '70 dalla Sammlung Verbund di Vienna, February - May 2010 (another example exhibited)
Madrid, Fundación Telefónica, PhotoEspaña 2011, 1,000 caras 0 caras 1 rostro, Cindy Sherman, Thomas Ruff, Frank Montero, May - July 2011 (another example exhibited)
East Hampton, New York, Glenn Horowitz Bookseller, Early Work of Cindy Sherman, August - October 2000 (another example exhibited)
London, greengrassi, Cindy Sherman, Early Work 1976/2000: Photographs, November - January 2001 (another example exhibited)
Contemporary Art Museum St. Louis, Cindy Sherman: Working Girl, September - December 2005, pp. 24-36 (illustrated, another example exhibited)
R. Durand, J. Criqui, L. Mulvey, Cindy Sherman, Flammarion, Jeu de Paume, Paris, 2007, p. 237 (illustrated)
(i) E. Respini, Cindy Sherman, exh. cat., The Museum of Modern Art, New York, 2012, p. 15, fig. 3 (illustrated)
(ii) E. Respini, Cindy Sherman, exh. cat., The Museum of Modern Art, New York, 2012, p. 15, fig. 3 (illustrated)
American • 1954
Seminal 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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