Metro Pictures, New York; Friedrich Petzel Gallery, New York; Private collection, New York
Los Angeles, The Museum of Contemporary Art, November 2, 1997 - February 1, 1998; Chicago, Museum of Contemporary Art, February 28 - May 31, 1998; Prague, Galerie Rudolfinum, June 25 - August 23, 1998; London, Barbican Art Gallery, September 10 - December 13, 1998; CAPC Musée d'art contemporain de Bordeaux, February 6 - April 25, 1999; Sydney, Museum of Contemporary Art, June 4 - August 29, 1999; and Toronto, Art Gallery of Ontario, October 1, 1999 - January 2, 2000, Cindy Sherman: Retrospective (another example illustrated, p. 59, pl. 8); Paris, Jeu de Paume, 16 May - 3 September, 2006; Kunsthaus Bregenz, 2 December, 2006 - 28 January, 2007; Humlebeak, Louisiana Musuem of Modern Art, 9 February - 13 May, 2007; Berlin, Martin Gropius Bau, 15 June - 10 September, 2007, Cindy Sherman (another example exhibited)
P. Schjeldahl and I. M. Danoff, Cindy Sherman, Munich, 1984, pl. 7 (illustrated); A. C. Danto, Untitled Film Stills: Cindy Sherman, Munich, 1990/1998, pl. 7 (illustrated); Z. Felix and M. Schwander, eds., Cindy Sherman: Photographic Work 1975-1995, Munich, 1995, pl. 3 (illustrated); D. Frankel, ed., The Complete Untitled Film Stills: Cindy Sherman, New York, 2003, p. 126 (illustrated); Jeu de Paume, ed., Cindy Sherman, Paris, 2006, pp. 35, 241 (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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