Cindy Sherman, ‘Cover Girl (Family Circle)’, 1975-2011, Choice Works Benefit Auction 2015
Cindy Sherman, ‘Cover Girl (Family Circle)’, 1975-2011, Choice Works Benefit Auction 2015
Cindy Sherman, ‘Cover Girl (Family Circle)’, 1975-2011, Choice Works Benefit Auction 2015
Cindy Sherman, ‘Cover Girl (Family Circle)’, 1975-2011, Choice Works Benefit Auction 2015

Estimated value: $150,000

Each silver gelatin print is 10.5 x 8 inches

Cindy Sherman is one of the most acclaimed and deeply influential figures in contemporary art. Her nearly 40-year career articulates a consistently charged and stirring inquiry into the nature of personal identity, and is particularly powerful in her investigation of female roles in contemporary society. Drawing from imagery found in pop and consumer culture, Sherman has inhabited scores of personas and alter egos. The triptych Cover Girl (Family Circle), begun when Sherman was a student at Buffalo State University and revisited 36 years later, elegantly encapsulates the artist’s provocative wit and insight. Sherman’s awards and major exhibitions include: MacArthur Fellowships (1995), Hasselblad Award (1999), National Arts Award (2001), American Academy of Arts and Sciences Award (2003), Jewish Museum’s Man Ray Award (2009), and the Roswitha Haftmann Prize (2012). In 2013, Sherman received an honorary doctorate degree from the Royal College of Art, London. Among the many exhibitions of Sherman’s work, her 2012 retrospective at MoMA was one of the most important, showcasing more than 170 artworks from her career.

Signature: Yes

About Cindy Sherman

Cindy Sherman established her reputation—and a novel brand of uncanny self-portraiture—with her “Untitled Film Stills” (1977-80), a series of 69 photographs of the artist herself enacting female clichés of 20th-century pop culture. Though her work continually re-examines women’s roles in history and contemporary society, Sherman resists the notion that her photographs have an explicit narrative or message, leaving them untitled and largely open to interpretation. “I didn’t think of what I was doing as political,” she once said. “To me it was a way to make the best out of what I liked to do privately, which was to dress up.” Always in meticulous costumes, wigs, and makeup, Sherman has produced series in which she dresses as women from history paintings, fashion, and pornography. In the late 1980s and into the ’90s, she expanded her focus to more grotesque imagery, like the mutilated mannequins of her “Sex Pictures” (1992).

American, b. 1954, Glen Ridge, New Jersey, based in New York, New York

Exhibition Highlights

2015
Gagosian - Jason Ysenburg, 
NY,
Art Basel Miami Beach 2015