Metro Pictures, New York
Private Collection, New York
Phillips de Pury & Luxembourg, New York, 13 November 2003, lot 38
Acquired at the above sale by the present owner
Amsterdam, The Stedelijk; Gewad, MuseumGhent; Bristol, Watershed Gallery; Southhampton, John Hansard Gallery; Erlangen, Palais Stutterheim; Berlin, Haus Am Waldsee; Geneva, Centre d'Art Contemporain; Copenhagen, Sonja Henie and Neils Onstadt Foundation; Humblebaek, Louisiana Museum, Cindy Sherman, 24 December 1982-6 February 1983, no. 20, p. 57 (another example illustrated)
Tokyo, Laforet Museum Harajuku, Next Wave of American Women Vol. 2: Cindy Sherman, 23 April–4 May 1984, n.p. (another example exhibited and illustrated)
New York, Whitney Museum of American Art, Cindy Sherman, 9 July-4 October 1987, no. 20, p. 17 (another example exhibited and illustrated, p. 61)
Hamburg, Deichtorhallen; Malmö, Kunsthall; Luzerne, Kustmuseum, Cindy Sherman: Photographic Work 1975-1995, 25 May 1995-11 February 1996, no. 17, n.p. (another example exhibited and illustrated)
Rotterdam, Museum Boijmans van Beuningen; Madrid, Museo Nacional Centro de Arte Reina Sofía; Bilbao, Sala de Exposiciones Rekalde; Staatliche Kunsthalle Baden-Baden, Cindy Sherman, 10 March 1996-23 March 1997, no.15, p. 16 (another example exhibited and illustrated pp. 40-41)
Los Angeles, The Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; CAPC Musée d'art Contemporain de Bordeaux; Sydney, Museum of Contemporary Art; Toronto, Art Gallery of Ontario, Cindy Sherman: Retrospective, 2 November 1997-2 January 2000, no. 37, p. 197 (another example exhibited and illustrated, p.76)
New York, The Museum of Modern Art, Photography Inaugural Installation, 20 November 2004–6 June 2005 (another examples exhibited)
Museum Morsbroich, Yes Yes Yes Yes: Difference and Repetition in Pictures of the Olbricht Collection, 16 October 2005–15 January 2006, p. 162 (illustrated)
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, 16 May 2006-10 September 2007, p. 243, 317 (another example exhibited and illustrated, n.p.)
Essen, Museum Folkwang, Rockers Island Olbricht Collection, 5 May-1 July 2007, p. 277
Kunsthalle Krems, Lebenslust & Totentanz. Olbricht Collection, 18 July - 7 November 2010, p. 186
New York, The Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Dallas Museum of Art, Cindy Sherman, 26 February 2012-9 June 2013, pl. 43, pp. 241, 262 (another example and illustrated, p. 106)
Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Zürich, Kunsthaus, Cindy Sherman - Untitled Horrors, 4 May 2013-14 September 2014, p. 224 (another example exhibited and illustrated, p. 42)
Berlin, Collectors Room, Cindy Sherman: Works from the Olbricht Collection, 16 September 2015-28 August 2016
London, Saatchi Gallery, From Selfie to Self-Expression, 31 March-6 June 2017 (another example exhibited)
New York, Cristin Tierney, Under Construction: Photography, Video, and the (Re)presentation of Identity, 6 September-13 October 2018 (another example exhibited)
Peter Schjeldahl and Michael Danoff, Cindy Sherman, New York 1984, no. 20, p. 53 (another example illustrated)
Cindy Sherman, exh. cat., Parco Gallery, Tokyo, 1987, p. 95 (another example illustrated, p. 30)
Arthur C. Danto, Cindy Sherman: Untitled Film Stills, London, 1990, no. 20, pp. 53-54 (another example illustrated)
Charles Miers, ed., Cindy Sherman: 1975-1993, New York, 1993, p. 225 (another example illustrated pp. 38-39)
Martin Maloney, I Am A Camera, The Saatchi Gallery, London, 2001, no. 135, n.p. (another example illustrated)
Johanna Burton, ed., Cindy Sherman, Cambridge and London, 2006, p. 163 (another example illustrated, p.18)
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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