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現藏者購自上述來源
Roslyn, NY, Nassau County Museum of Art, Explosive Photography, 18 January – 25 April 2004, p. 28 (illustrated)
London, Whitechapel Art Gallery, Cindy Sherman, 2 August – 22 September 1991
San Francisco, Gagosian, About Photography, April 24 – June 30, 2018
Online, Gagosian and Jeffrey Deitch, The Future, 30 November 2020 - 9 January 2021
Rosalind Krauss, Cindy Sherman 1975–1993, New York, 1993, p. 133 (another example illustrated)
Jurgen Klauke, Cindy Sherman, Ostfildern, 1994, p. 61 (illustrated)
Cindy Sherman, exh. cat. Museum Boijmans Van Beuningen, Rotterdam, 1996, no. 4, p. 118, (another example illustrated)
Amanda Cruz, Elizabeth A. T. Smith and Amelia Jones, Cindy Sherman: Retrospective, exh. cat., Museum of Contemporary Art Chicago; Museum of Contemporary Art, Los Angeles, 1997, pl. 113, p. 148 (another example illustrated)
Robert Storr, On the Edge: Contemporary Art from the Werner and Elaine Dannheiser Collection, exh. cat. Museum of Modern Art, New York, 1998, p. 125 (another example illustrated)
Catherine Morris, The Essential Cindy Sherman, New York, 1999, p. 85 (another example illustrated)
Et dukkehjem, exh. cat., Norway: Henie Onstad Kunstsenter, Høvikodden, 2002, p. 50, (another example illustrated)
Modern Means: Continuity and Change in Art, 1880 to the Present, Highlights from the Museum of Modern Art, exh. cat., Museum of Modern Art, New York, 2004, p. 173 (another example illustrated)
Cindy Sherman, Paris, 2006, pp. 133, 255 (another example illustrated)
Francesco Bonami, ed., Cindy Sherman , Milan, 2007, p. 62 (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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