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  • Provenance

    Donated by the artist to benefit CEPA Gallery, Buffalo; acquired by the present owner from the biennial CEPA Gallery Benefit, 1980

  • Exhibited

    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; Le capcMusée 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 (illustrated, p. 76, pl. 37)

  • Literature

    P. Schjeldahl and I. M. Danoff, Cindy Sherman, Munich, 1984, pl. 20 (illustrated); A. C. Danto, Untitled Film Stills: Cindy Sherman, Munich, 1990/1998, pl. 20 (illustrated); Z. Felix and M. Schwander, eds., Cindy Sherman: Photographic Work 1975-1995, Munich, 1995, pl. 17 (illustrated); D. Frankel, ed., The Complete Untitled Film Stills: Cindy Sherman, New York, 2003, p. 24 (illustrated); A. Heil and W. Schoppmann, eds., YES YES YES YES: Difference and Repetition in Pictures of the Olbricht Collection, Bönnigheim, 2005, p. 162 (another example illustrated)

  • Catalogue Essay

    "The artistic appropriation of the 8x10 black-and-white still, with its corresponding activation of all the powerful feelings and connotations connected with it in contemporary pictorial culture, would all by itself have been a considerable artistic achievement. . . . But all this carries us only a certain distance in the understanding and appreciation of Sherman's images. In a sense, the still only provided a framework through which her deeper artistic impulses found expression. . . . And with her breakthrough to the still, everything came together for Sherman: a oneness with her means, a oneness with her culture, a oneness with a set of narrative structures instantly legible to everyone who lives this culture, and so a oneness with her presumed audience. The stills acquire consequently a stature as art which draws together and transcends their artistic antecedents." (A. C. Danto, Untitled Film Stills: Cindy Sherman, Munich, 1990/1998, pp. 9, 13)

  • Artist Biography

    Cindy Sherman

    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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357

Untitled Film Still #32

1979
Gelatin silver print.
8 x 10 in. (20.3 x 25.4 cm).
Signed, numbered of 10 and dated "Cindy Sherman ©1979" on the reverse. This work is from an edition 10.

Estimate
$60,000 - 80,000 

Sold for $141,600

Contemporary Art Part II

17 Nov 2006, 10am & 2pm
New York