“I think people are more apt to believe photographs, especially if it’s something fantastic. They’re willing to be more gullible. Sometimes they want fantasy. Even if they know it’s fake they can believe anything. People are accustomed to being told what to believe in.”
—Cindy Sherman
來源
紐約Metro Pictures畫廊 現藏者購自上述來源
過往展覽
New York, Metro Pictures, Cindy Sherman, October 16–november 13, 1982 (another example exhibited) Amsterdam, Stedelijk Museum, Cindy Sherman, December 1982, pl. 64, n.p. (another example exhibited and illustrated) London, Tate Gallery, New Art at the Tate Gallery, 1983, September 14–October 23, 1983, p. 71 (another example exhibited) New York, Whitney Museum of American Art, Cindy Sherman, July 9–October 4, 1987, pl. 64, p. 149 (another example exhibited and illustrated) Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Marin-Gropius-Bau, Cindy Sherman, May 16, 2006–September 10, 2007, pp. 105, 251, 317 (another example exhibited and illustrated, pp. 105, 251) Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman—Untitled Horrors, May 4, 2013–September 4, 2014, pp. 74, 225 (another example exhibited and illustrated, p. 74) London, The Eyal Ofer Galleries, Tate Modern, Performing for the Camera, February 18–June 12, 2016, pp. 133, 237 (another example exhibited and illustrated, p. 133) Los Angeles, The Broad, Cindy Sherman: Imitation of Life, June 11, 2016–October 2, 2016, no. 46, p. 62 (another example exhibited and illustrated) Art Gallery of New South Wales, Nude: Art from the Tate Collection, November 5, 2016–February 5, 2017, p. 201 (another example exhibited and illustrated) London, National Portrait Gallery; Vancouver Art Gallery; Paris, Fondation Louis Vuitton, Cindy Sherman, June 27, 2019–August 24, 2020, pp. 136, 252 (another example exhibited and illustrated, p. 252) Los Angeles, Hauser & Wirth, Cindy Sherman 1977–1982, October 27, 2022–January 8, 2023 (another example exhibited)
文學
Peter Schjeldahl and I. Michael Danoff, Cindy Sherman, New York, 1984, pl. 64, p. 141 (another example illustrated) Peter Schjeldahl et al., Art of Our Time: The Saatchi Collection 4, London, 1984, no. 87, n.p. (another example illustrated) Gyoh Suzuki, ed., Cindy Sherman, Tokyo, 1987, p. 45 (another example illustrated) Rosalind Krauss, Cindy Sherman 1975–1993, New York, 1993, pp. 100, 227 (another example illustrated, p. 100) Suzanne Landau, ed., Contemporary Art in the Israel Museum, Jerusalem, 2010, p. 306 Paul Moorhouse, Cindy Sherman, New York, 2014, no. 40, p. 48 (another example illustrated) Simon Baker and Fiontan Moran, eds., Performing For The Camera, London, 2016, p. 133 (another example illustrated) Alexandra Moschovi, A Gust of Photo-Philia: Photography in the Art Museum, Leuven, 2020, p. 145
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.
