The Women of the Bauhaus School
Sherman is counted among the most influential artists of the last half-century. In 1976 Sherman relocated to New York City, where she began making the seminal Untitled Film Stills; she has gone on to photograph and cast herself in various roles through her masterful use of costume, setting, and pose.
Born in 1954 in Glen Ridge, New Jersey, Cindy Sherman is counted among the most influential artists of the last half-century. Upon graduating from the State University of New York at Buffalo in 1976, Sherman relocated to New York City where she began making the seminal Untitled Film Stills. She has gone on to photograph and cast herself in various roles through her masterful use of costume, setting and pose. A retrospective of Sherman’s work opened in February of 2012 at the Museum of Modern Art, New York. Accompanied by a comprehensive catalogue, the exhibition travelled to the San Francisco Museum of Modern Art, the Walker Art Center, Minneapolis and the Dallas Museum of Art. A selective exhibition organized by the Moderna Museet, Stockholm and the Astrup Fearnley Museum, Oslo is currently on view and will travel to other European venues. Also in February, Hatje Cantz, in cooperation with the Sammlung Verbund Vienna, will publish a catalogue raisonné of formative early works produced by Sherman between 1975 and 1977.
Cindy Sherman has had one-person exhibitions at institutions that include: Martin-Gropius-Bau, Berlin (2007); Louisiana Museum of Modern Art, Copenhagen (2007); Kunsthaus Bregenz, Austria (2006/07); Jeu de Paume, Paris (2006); Kestnergesellschaft, Hanover, Germany (2004); Serpentine Gallery, London (2003); Museum of Contemporary Art, Los Angeles (1997); Museum of Contemporary Art, Chicago (1997); Museum of Modern Art, New York (1997); Museum Boijmans-van Beuningen, Rotterdam (1996); Museo Nacional Centro de Arte Reina Sofia, Madrid (1996); and the Whitney Museum of American Art, New York (1987). Sherman has most recently participated in major group shows and biennials such as: ILLUMInations, 54th Venice Biennale (2011); 10,000 Lives, Gwangju Biennale, South Korea (2010); Skin Fruit: Selections from the Dakis Joannou Collection, New Museum, New York (2010); Mapping the Studio: Artists from the François Pinault Collection, Punta della Dogana, Venice (2009/10); and The Pictures Generation: 1974-1984, The Metropolitan Museum of Art, New York (2009).
[text via Metro Pictures]
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
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