Cindy Sherman, ‘Untitled Film Still #1’, 1977, Sotheby's: Contemporary Art Day Auction

From the Catalogue

"I’d been using myself in my work, in costumes and as characters, so it was natural. I took one roll of film, and I had about six different setups of characters that were all supposed to be this one actress at various points in her career. In some she’s meant to look like the ingénue in her first role. In others she’s a little bit more haggard, trying to play a younger part." —Cindy Sherman

Courtesy of Sotheby's

Signature: signed, dated 1977 and numbered 6/10 on the reverse

Rotterdam, Museum Boijmans Van Breuningen; Madrid, Palacio de Velazquez, Parque del Retiro, Museo Nacional Centro de Arte Reina Sofia; Bilbao, Sala de Exposiciones REKALDE; Baden-Baden, Staatliche Kunsthalle, Cindy Sherman, March 1996 - March 1997, p. 21, illustrated (another example exhibited)
Chicago, Museum of Contemporary Art; Los Angeles, The Museum of Contemporary Art, Cindy Sherman Retrospective, November 1997 - May 1998, p. 56, illustrated (another example exhibited)
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art; Berlin, Martin Gropius-Bau, Cindy Sherman, May 2006 - September 2007, p. 33, illustrated (another example exhibited)
New York, The Museum of Modern Art, Cindy Sherman, February - June 2012, p. 102, illustrated (another example exhibited)

Exh. Cat., New York, Museum of Modern Art, Cindy Sherman, The Complete Untitled Film Stills, 2003, p. 87, illustrated
Rosalind Krauss, Cindy Sherman, New York 1993, p. 224

Metro Pictures, New York
Skarstedt Gallery, New York
Acquired from the above by the present owner in 2001

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