Metro Pictures, New York
Acquired from the above by the present owner
New York, Metro Pictures, Cindy Sherman, October 16 - November 13, 1982 (another example exhibited)
Amsterdam, Stedelijk Van Abbemuseum, Cindy Sherman, December 1982, no. 64, n.p. (another example exhibited and illustrated)
New York, Whitney Museum of American Art, Cindy Sherman, July 9 - October 4, 1987, no. 64, n.p. (another example exhibited and illustrated)
Paris, Jeu de Paume; Bregenz, Kunsthaus; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, 2006 - 2007, pp. 105, 251 (another example exhibited and illustrated)
Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman - Untitled Horrors, May 4, 2013 - September 14, 2014, p. 74 (another example exhibited and illustrated)
Los Angeles, The Broad, Cindy Sherman: Imitation of Life, June 11 - October 2, 2016, no. 46, pp. 62, 154 (another example exhibited and illustrated)
Art Gallery of New South Wales, Nude: Art from the Tate Collection, November 5, 2016 to February 5, 2017, p. 201 (another example exhibited and illustrated)
Peter Schjeldahl and I. Michael Danoff, Cindy Sherman, New York, 1984, no. 64, n.p. (another example illustrated)
Peter Schjeldahl and Lisa Phillips, Cindy Sherman, New York, 1987, no. 64, n.p. (another example illustrated)
Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 100 (another example illustrated)
David Anfam, ed., 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 exhibited)
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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