White Columns Benefit, New York, 1982 (donated by the artist and Metro Pictures)
Galleria Claudia Gian Ferrari, Milan
Acquired from the above by the present owner
New York, Museum of Modern Art, Cindy Sherman: The Complete Untitled Film Stills, 26 June - 2 September 1997 (another example exhibited)
Los Angeles, The Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; Musée d'art Contemporain de Bordeaux; Museum of Contemporary Art Sydney; Toronto, Art Gallery of Ontario, Cindy Sherman Retrospective, 2 November 1997 - 1 October 1999, pl. 43, pp. 80, 197 (another example exhibited and illustrated, p. 80)
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art; Berlin, Martin-Cropius-Bau, Cindy Sherman, 16 May 2006 - 10 September 2007 p. 317 (another example exhibited and illustrated, n.p.)
New York, Museum of Modern Art, Cindy Sherman, 26 February - 11 June 2012, pl. 30, p. 101, 262 (another example exhibited and illustrated, p. 101)
London, National Portrait Gallery; Vancouver Art Gallery, Cindy Sherman, 27 June - 8 March 2020, p. 251 (another example exhibited and illustrated, p. 101)
Cindy Sherman, Cindy Sherman: The Complete Untitled Film Stills, MoMA Publications, New York, 2003, p. 58 (another example illustrated, p. 59)
Cindy Sherman, exh. cat., Foundation Louis Vuitton, Paris, 2020- 2021, p. 82 (another example listed)
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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