紐約Metro Pictures畫廊
現藏者於2009年購自上述來源
Rome, Gagosian Gallery, Cindy Sherman, 7 June - 19 September 2009
'Arte: Cindy Sherman', L'Evento, June 2009, n.p. (another example illustrated)
'Cindy Sherman', Interview, December 2008 - January 2009, pp. 148-149 (another example illustrated)
Lauretta Colonnelli, 'Cindy Sherman: Foto di 15 donne, ma è sempre lei', Corriere della Sera, 7 June 2009, n.p. (another example illustrated)
Maria Stella Càstano, 'Cindy Sherman: anche le ricche piangono', Anna, 25 June 2009, p. 127 (another example illustrated)
Bridget Moriarty, 'Italian Masquerade', Art and Auction, June 2009, n.p. (another example illustrated)
Louisa Buck, 'New York e Rome: Ladykiller', Vernissage, June 2009, n.p. (another example illustrated)
Maria Rosa Sossai, 'Cindy Sherman: Gagosian Gallery - Rome', Flash Art International, September 2009, p. 93 (another example illustrated)
Derek Blasberg, 'Cindy Sherman', Gagosian Quarterly, Spring 2020, pp. 32-33 (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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