Cindy Sherman, ‘Untitled #353’, 2000, Sotheby's

From Generation to Generation: Important Photographs from the Ames Collection

Flush mounted, signed, dated, and editioned '2/6' in ink on the reverse, framed, Metro Pictures and The Ames Collection, New York, labels on the reverse.

From the Catalogue:
‘They were criticized as if I was making fun of these people. But I empathize with these characters. Some of the most pitiful little characters in that series, my heart goes out to them. I just adore them. . . . I definitely had people coming to me and say, “I know you did me in here somewhere. I’m not sure in which one, but I’m in here”’ (Cindy Sherman, quoted in 'Cindy Sherman and John Waters: A Conversation,' Cindy Sherman, The Museum of Modern Art, 2012, p. 78).

A print of this image is in the collection of The Broad, Los Angeles. At the time of this writing, no other print of this image believed to have been offered at auction.
—Courtesy of Sotheby's

New York, Metro Pictures, Cindy Sherman, November 2000 - January 2001

Eva Respini, Cindy Sherman (New York: The Museum of Modern Art, 2012), p. 152
Cindy Sherman (Berlin, 2015), p. 35
Cindy Sherman. Imitations of Life (Munich/London/New York, 2016), p. 112
Abigail Solomon-Godeau, Photography After Photography. Gender, Genre, History (Durham, 2017), p. 202

Metro Pictures, New York, 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