Metro Pictures, New York
Acquired from the above by the present owner
New York, Metro Pictures, Cindy Sherman, October 5 - 26, 1985 (another example exhibited)
Muenster, Westfälische Kunstverein, Cindy Sherman Photographien, December 7, 1985 - January 26, 1986, p. 39 (another example exhibited and illustrated, p. 28)
New York, Whitney Museum of American Art, Cindy Sherman, July 9 - October 4, 1987, p. 19 (present lot exhibited and illustrated, p. 97)
Kunsthalle Basel; Munich, Staatsgalerie moderner Kunst; London, Whitechapel Art Gallery, Cindy Sherman, March 28 - September 22, 1991, p. 70 (present lot exhibited and illustrated, p. 44)
Helsinki, The Museum of Contemporary Art, Louise Lawler, Cindy Sherman, Laurie Simmons: Re-turning the gaze, March 28 - May 1, 1993, p. 72 (another example exhibited and illustrated, p. 37)
Hamburg, Deichtorhallen; Malmo, Kunsthall; Lucerne, Kunstmuseum, Cindy Sherman: Photographic Work, 1975-1995, May 25, 1995 - February 11, 1996, no. 87, n.p. (another example exhibited and illustrated)
Los Angeles, The Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; Bordeaux, CAPC Musée d'art Contemporain; Sydney, Museum of Contemporary Art; Toronto, Art Gallery of Ontario, Cindy Sherman: Retrospective, November 2, 1997 - January 2, 2000, no. 102, pp. 137, 198 (another example exhibited and illustrated, p. 136)
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, May 16, 2006 - September 10, 2007, pp. 120, 317 (another example exhibited and illustated, pp. 124, 255)
New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Dallas Museum of Art, Cindy Sherman, February 26, 2012 - June 9, 2013, no. 115, p. 243 (another example exhibited and illustrated, p. 169)
New York, David Zwirner, No Problem: Cologne / New York 1984-1989, May 1 - June 14, 2014, p. 273 (another example exhibited and illustrated, p. 47)
Silkeborg, Museum Jorn, Cindy Sherman, September 23 - December 10, 2017, p. 135 (another example exhibited and illustrated, p. 55)
New York, Metro Pictures, Life to come, January 17 - February 16, 2019 (another example exhibited)
Rosalind Krauss and Norman Bryson, Cindy Sherman 1975-1993, New York, 1993, p. 229 (another example illustrated, p. 136)
Christa Schneider, Cindy Sherman: History Portraits, Munich, 1995, p. 16 (another example illustrated)
Andy Grundberg, Crisis of the Real: Writings on Photography, 1974-1989, New York, 1999, no. 18, p. 120 (another example illustrated)
Catherine Morris, The Essential: Cindy Sherman, New York, 1999, p. 23 (another example illustrated)
Johanna Burton, ed., "Cindy Sherman", MIT Press: The October Files, November 2006, p. 62 (another example illustrated)
Eleanor Heartney, Helaine Posner, Nancy Princenthal and Sue Scott, After the Revolution: Women Who Transformed Contemporary Art, Munich, 2007, p. 177 (another example illustrated, p. 178)
Cindy Sherman: Untitled Horrors, exh. cat., Astrup Fearnley Museet, Oslo, 2013 - 2014, p. 225 (another example illustrated, p. 112)
Eleanor Heartney, “Cindy Sherman: The Polemics of Play”, After the Revolution: Women Who Transformed Art, New York, 2013, p. 190 (another example illustrated)
Paul Moorhouse, Cindy Sherman, London, 2014, no. 66, p. 146 (another example illustrated, p. 82)
Peter Schjeldahl, "Mutual Admiration Society: Revisiting the eighties exchange between Germany and New York", The New Yorker, May 5, 2014, online (another example 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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