Sprüth Magers, Berlin
Acquired from the above by the present owner in the 1980s
Amsterdam, Stedelijk Museum, Cindy Sherman, December 1982, no. 26, p. 69 (another example exhibited and illustrated)
New York, Whitney Museum of American Art, Cindy Sherman, July 9 - October 4, 1987, no. 26, p. 17 (another example exhibited and illustrated, p. 73)
Los Angeles, Museum of Contemporary Art; Museum of Contemporary Art Chicago; 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, November 2, 1997 - January 2, 2000, pl. 48, pp. 2, 197 (another example exhibited and illustrated, p. 83)
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, May 16, 2006 - September 10, 2007, p. 316 (another example exhibited and illustrated, pp. 50, 243)
New York, The Museum of Modern Art; Seattle Art Museum, Into the Sunset: Photography’s Image of the American West, March 29, 2009 - May 23, 2010, p. 137 (another example exhibited and illustrated)
New York, The Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Dallas Museum of Art, Cindy Sherman, February 26, 2012 - June 9, 2013, pl. 42, pp. 21, 242 (another example exhibited and illustrated, p. 106)
Kyoto, The National Museum of Modern Art; Tokyo, The National Museum of Modern Art, Reading Cinema, Finding Worlds: Art After Marcel Broodthaers, September 7, 2013 - June 1, 2014, p. 54 (another example exhibited and illustrated)
Basel, Museum fur Gegenwartskunst, Von Bildern, August 29, 2015 - January 24, 2016, no. 19, p. 60 (another example exhibited and illustrated)
Los Angeles, The Broad; Columbus, Wexner Art Center, Cindy Sherman: Imitation of Life, June 11, 2016 - December 31, 2017, no. 27, p. 153 (another example exhibited and illustrated, pp. 46-47)
Washington, National Gallery of Art; Atlanta, High Museum of Art; Los Angeles County Museum of Art, Outliers and American Vanguard Art, January 28, 2018 - March 18, 2019, pp. 22, 109, 363, 384 (another example exhibited and illustrated, p. 290)
Shanghai, Fosun Foundation, Cindy Sherman, November 7, 2018 - January 13, 2019 (another example exhibited)
London, National Portrait Gallery; Vancouver Art Gallery; Paris, Louis Vuitton Foundation, Cindy Sherman, June 27, 2019 - March 8, 2020 (another example exhibited)
Peter Schjeldahl and I. Michael Danoff, Cindy Sherman, New York, 1984, no. 26, p. 65 (another example illustrated)
Arthur C. Danto, Cindy Sherman: Untitled Film Stills, New York, 1990, no. 29, n.p. (another example illustrated)
Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 226 (another example illustrated, pp. 22-23)
Cindy Sherman: Photographic Works 1975-1995, exh. cat., Deichtorhallen Hamburg, London, 1995, no. 14, p. 43 (another example illustrated)
Gunilla Knape, Cindy Sherman, Göteborg, 2000, p. 47 (another example illustrated, p. 40)
David Frankel, ed., Cindy Sherman: The Complete Untitled Film Stills, New York, 2003, pp. 15, 130 (another example illustrated, p. 131)
Johanna Burton, Cindy Sherman, Cambridge, 2006, pp. 161, 163 (another example illustrated, p. 164)
Joanne Heyler, ed., The Broad Collection, Los Angeles, 2015, p. 19 (another example illustrated)
Kristin Lené Hole and Dijana Jelaca, Film Feminisms: A Global Introduction, New York, 2019, pp. 59-60 (another example 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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