Metro Pictures, New York
Skarstedt Fine Art, New York
Acquired from the above by the present owner
New York, Metro Pictures, Cindy Sherman, January 6 - 27, 1990 (another example exhibited)
Amsterdam, Stedelijk Museum, Energieen, April 8 - July 29, 1990, p. 50 (another example exhibited and illustrated, pp. 52, 54, 56)
Barcelona, Centre d'Art Santa Mònica, To Be and Not to Be, April 23 - June 1990, p. 213 (another example exhibited and illustrated, p. 196)
Roslyn, Nassau County Museum of Art, Image Makers, October 3, 1993 - January 2, 1994, p. 61 (another example exhibited and illustrated, p. 42)
Las Palmas, Centro Atlántico de Arte Moderno, Los Géneros de la Pintura, September 13 - October 29, 1994, p. 61 (another example exhibited and illustrated)
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, May 16, 2006 - September 10, 2007, p. 318 (another example exhibited and illustrated, pp. 144, 257)
London, Christie's Mayfair, Reflections on the Self, June 2 - September 5, 2015, p. 217 (another example exhibited and illustrated, p. 177)
London, Skarstedt, Cindy Sherman and David Salle, History Portraits and Tapestry Paintings, October 1 - November 26, 2016, p. 26 (another example exhibited and illustrated, pp. 10, 27, 67, 79, 83, 90)
Arthur C. Danto, Cindy Sherman: History Portraits, New York, 1991, no. 5, p. 62 (another example illustrated, p. 22)
Rosalind Krauss, Cindy Sherman 1975 - 1993, New York, 1993, p. 231 (another example illustrated, p. 185)
Christiane Weidemann, Petra Larass and Melanie Klier, 50 Women Artists You Should Know, London, 2016, p. 137 (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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