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Cindy Sherman

Untitled, 1989

Two transparencies printed in colours, superimposed in a black painted aluminium electrical lightbox.
31 1/2 × 23 3/5 × 3 3/10 in
80 × 60 × 8.5 cm
Bidding closed
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About the work
Bibliography
P
Phillips

From the Catalogue:
"… With an almost uncanny sense of our culture's concerns, Sherman is …

Read more

From the Catalogue:
"… With an almost uncanny sense of our culture's concerns, Sherman is always one step ahead, providing a mirror of our fears, expectations, and obsessions."

  • Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 314
    —Courtesy of Phillips
Signature
Signed in blue ink and annotated 'B.A.T.' in black ink on the accompanying label (the bon á tirer or 'good-to-print' copy before the … Read more
Cindy Sherman
American, b. 1954
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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).

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Save
share
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About the work
Bibliography
P
Phillips

From the Catalogue:
"… With an almost uncanny sense of our culture's concerns, Sherman is …

Read more

From the Catalogue:
"… With an almost uncanny sense of our culture's concerns, Sherman is always one step ahead, providing a mirror of our fears, expectations, and obsessions."

  • Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 314
    —Courtesy of Phillips
Signature
Signed in blue ink and annotated 'B.A.T.' in black ink on the accompanying label (the bon á tirer or 'good-to-print' copy before the … Read more
Cindy Sherman
American, b. 1954
Follow

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).

Cindy Sherman

Untitled, 1989

Two transparencies printed in colours, superimposed in a black painted aluminium electrical lightbox.
31 1/2 × 23 3/5 × 3 3/10 in
80 × 60 × 8.5 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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