Published by The Museum of Modern Art, New York. By Eva Respini. Text by Johanna Burton. Interview by John Waters.
Published to accompany the first major survey of Cindy Sherman’s work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist’s 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman’s sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977–80); centerfolds (1981); history portraits (1989–90); head shots (2000–2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman’s career, weaving together art historical analysis and discussions of the artist’s working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman’s work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Eva Respini is a former Curator in the Department of Photography at The Museum of Modern Art, New York where she contributed to numerous publications including Robert Heinecken: Object Matter (2014); Cindy Sherman (2012); and Into the Sunset: Photography’s Image of the American West (2009); Fashioning Fiction in Photography since 1990 (2004).
John Waters is an American filmmaker, actor, writer, and visual artist best known for his cult films, including "Hairspray", "Pink Flamingos", and "Cecil B. DeMented". He lives in Baltimore, Maryland.
Johanna Burton has served as the director of the graduate program at the Center for Curatorial Studies at Bard College.
Published by Hauser & Wirth Publishers. Text by Cindy Sherman.
This publication presents a new body of work by Cindy Sherman that continues her explorations of the genre of portraiture going back to her early work of the 1970s. Across 36 photographs, the artist collages parts of her own face to construct the identities of various sitters, using digital manipulation to accent the layered aspects and plasticity of the self. The book also includes a text by Sherman chronicling her process in the studio, offering an intimate glimpse into her thinking about the work. Cindy Sherman (born 1954) came to prominence in the late 1970s with the Pictures Generation group alongside artists such as Sherrie Levine, Richard Prince and Louise Lawler. Sherman studied art at Buffalo State College in 1972 where she soon turned her attention to photography. In 1977, shortly after moving to New York, Sherman began her critically acclaimed Untitled Film Stills. By the mid to late 1980s her visual language began to explore the more grotesque aspects of humanity through the lens of horror and the abject, as seen in works such as Fairy Tales (1985) and Disasters (1986–89). Since the early 2000s, Sherman has used digital technology to further manipulate her roster of characters. In 2017, she began using Instagram to upload portraits that utilize a number of face-tuning apps, morphing the artist into a plethora of protagonists in kaleidoscopic settings. Sherman lives and works in New York, and is represented by Hauser & Wirth.
Published by The Museum of Modern Art, New York. Text by Gwen Allen.
In 1981 Cindy Sherman (born 1954) was commissioned to contribute a special project to Artforum magazine. Given two facing pages, she chose to explore the pornographic centerfold, creating 12 large-scale horizontal images of herself appearing as various young women, often reclining, in private, melancholic moments of reverie. As Sherman explained, “I wanted a man opening up the magazine to suddenly look at it in expectation of something lascivious and then feel like the violator that they would be.”
Sherman’s Centerfolds were so provocative that they were never published for fear that they would be misunderstood. In her essay, Gwen Allen, Professor of Art History and Director of the School of Art at San Francisco State University, examines one of the most iconic photographs in the series, Untitled #96—in which a young woman lies on her back against an orange and yellow vinyl floor, clutching a scrap of newspaper—exploring the production and critical reception of Sherman’s Centerfolds in relationship to the politics of pornography, gender and representation.
This small, gorgeously designed and carefully edited book—available in grey and beige cloth—presents all 20 photographs of a new body of work that Cindy Sherman completed in 2016. In these photographs, reminiscent (conceptually but not formally) of her earlier Film Stills, Sherman enacts variations on the theme of aging Hollywood actresses of the 1920s. The series was inspired by her interest in early German Expressionist silent movies, which led her to further studies of the first wave of the Hollywood star system in the 1920s. Here, Sherman’s "actresses" are presented in the style of studio publicity shoots, against backgrounds that were carefully composed for each of the characters. With heavy make-up, elaborate hairdos, precisely chosen and arranged wardrobe and dresses, Sherman creates female characters that provoke a rich array of cultural associations.
Cindy Sherman (born 1954) lives and works in New York City. She is represented by Metro Pictures. Works by Sherman are held in the Art Institute of Chicago; The Museum of Modern Art, Metropolitan Museum of Art and the Whitney Museum of American Art, New York; the Madison Museum of Contemporary Art; the Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; and the Albright-Knox Art Gallery, Buffalo, among others.
PUBLISHER Hartmann Books
BOOK FORMAT Clth, 6.5 x 8 in. / 64 pgs / 40 color.
PUBLISHING STATUS Pub Date 8/23/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2017 p. 52
PRODUCT DETAILS ISBN 9783960700012TRADE List Price: $25.00 CAD $34.50
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Hatje Cantz. Edited with interview and text by Karsten Löckemann. Text by Ingvild Goetz, Leo Lencsés, Gabriele Schor, Barbara Vinken.
This volume presents extensive groups of works from nearly all of Cindy Sherman's creative phases. The principle theme in Sherman's oeuvre is the staging of female role models. The American artist relies on stereotypes inscribed on our collective visual memory in a world saturated with media. In this roleplay with costumes, masks and prostheses, during which her own identity almost completely disappears, Sherman (born 1954) walks a fine line between staging and parody in her scrutiny of clichés and fears. The artist became well known for her multipart photo series Untitled Film Stills (1977-80), in which she embodies female characters from fictitious movie scenes from the 1950s. Her artistic principle has essentially not changed much since. In her later series with large-format color photographs, Sherman takes up such themes as fashion photography, fairytale figures, horror scenes and high-society ladies.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Throughout her career, Cindy Sherman (born 1954) has been interested in exposing the darker sides of human nature, noticeable both in her selection of subject matter (fairytales, disasters, sex, horror, surrealism) and in her disquieting interpretations of well-established photographic genres, such as film stills, fashion photography and society portraiture. Delving relentlessly into the more grotesque extremes of delusion, vanity and self-image, Sherman probes deeply into the masks and distractions we all employ to set apart our public and our private personae, and challenges us to consider how bizarre and unconvincing our attempts at projecting a semblance of normality can be. Attracting a certain degree of notoriety, intense and ongoing public interest as well as extensive critical acclaim, Sherman’s works continue to challenge and intrigue in equal measure. This richly illustrated publication deploys a selection of works from across her career to highlight and acknowledge these particular aspects of her art. These images are accompanied by more recent work, as well as essays from well-known authors, filmmakers and artists who likewise deal with the grotesque, the uncanny and the extraordinary in their practice.
For more than 30 years now, Cindy Sherman has been enacting a gamut of female roles and identities. Contrary to popular belief, the famous Untitled Film Stills (1978–80) are not Sherman’s earliest works, but rather those photographs she took as a student at State University College at Buffalo, between 1975 and 1977. During those years, Sherman cast aside the career in painting she had initially imagined for herself and began to study photography: “I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead,” she later recalled. Cindy Sherman: The Early Works, 1975–1977 gathers all of the artist’s work from this decisive phase, in which Sherman was formulating her conceptions of gender and identity construction, gathering her toolkit of props (wigs, makeup, costumes) and becoming friends with artists such as Robert Longo (with whom she would establish the Hallwalls gallery in New York). With nearly 300 plates, including numerous previously unknown photographs, plus scholarly research by editor Gabriele Schor, this substantial volume adds a wealth of new information to our understanding of Sherman’s oeuvre. Cindy Sherman (born 1954) is one of America’s most influential living artists. Born in Glen Ridge, New Jersey, she was raised on Long Island and studied at State University College, Buffalo. Upon graduation she moved to New York and soon commenced work on the groundbreaking series that would make her name, Untitled Film Stills. In 1996, The Museum of Modern Art bought a complete set of the series for one million dollars.
Published by La Fábrica/Fundación Telefónica. Text by Gerardo Mosquera, Douglas Crimp, Diana Cuéllar, José Miguel G. Cortés.
1000 Faces/0 Faces/One Face unites two great contemporary artists who have interrogated constructions of identity with an entirely unknown late-nineteenth-century photographer named Frank Montero. Its thesis runs as follows: in Cindy Sherman’s manipulations of generic casting we encounter a face that produces all faces; in Thomas Ruff’s proliferating but depersonalized portraits, we all encounter all faces reduced to a zero degree; and in Montero, we encounter a face that plays the role of itself, throughout the inscriptions wrought upon it by time. Montero’s work, seemingly made without artistic intentions or ambitions, and published here for the first time, provides a sort of Rembrandt-like counterpoint to the identity arguments made by Ruff and Sherman’s work, and alongside them makes for the most fascinating panorama of the absolute constructedness of the photographic portrait and the eerie artifice of identity itself.
Published by Hatje Cantz. Preface by Cindy Sherman.
It was in the mid-70s that Cindy Sherman began making her earliest works, in which she explored various manipulations of her own persona. She began by experimenting with makeup and costumes, getting dressed up for parties and surprising her friends. She then moved on to photograph herself in the various personas she had created, producing highly inventive but somewhat more primitive versions of the seminal work for which she would later become known, the Untitled Film Stills series. It was during this early period that Sherman created A Play of Selves--a visual tale of a young woman overwhelmed by various alter-egos that compete inside of her, and her final conquering of self-doubt. Acted out with 16 separate characters, these 72 photographic assemblages mark Sherman's earliest explorations of herself-as-subject in a series of staged photographs. Published here for the first time, these photographs include hundreds of shots of the artist costumed as various characters in dozens of poses. Organized in a four-act "play" with an elaborate, handwritten script, the individual images were cut by the artist from original black-and-white prints. Preface by Cindy Sherman.
Published by Contemporary Art Museum St. Louis. Edited by Kate Wagner. Essays by Paul Ha and Catherine Morris.
When curators at Saint Louis's Contemporary Art Museum asked Cindy Sherman whether there was a moment in her career whose resonance might be underappreciated, one around which she might like to develop an exhibit and a book, she selected her earliest adult creative years, beginning while she was still a student at Buffalo State College in the mid-1970s. Working Girl is full of rarely seen pieces, and it features, for the first time, documentation of and stills from Sherman's 1975 animated short Doll Clothes, which is among the pieces that bring Sherman's early exploration of gender and identity into focus. The mostly small-scale work, including many early black-and-white, hand-colored, and sepia-toned photographs, is culled primarily from the artist's family members' collections and her own, and includes the pieces that laid the groundwork for her first major success, the acclaimed Film Stills series. Working Girl is a unique glimpse into the early development of Sherman's artistic practice, and into the genesis of her inimitable substance and style. It illuminates her conceptual approach to photography and foretells the career that would be launched in the late 1970s, positioning her as one of the most significant artists of our time.
Published by Skarstedt Fine Art. Essays by Lisa Phillips, A. Grundberg, Peter Schjeldahl and Roberta Smith.
Described by one critic as "embarrassingly intimate," Cindy Sherman's Centerfolds, a series of twelve 2 x 4 foot images shot in 1981 for an Artforum commission, take the horizontal centerfold as their physical and conceptual framework. Though the images were never run in the magazine--the editor was concerned that they would be misunderstood--they remain some of the most affecting of Sherman's constructed pictures. In them, Sherman's vaguely adolescent female characters fill up the frame with an ambiguous, uncomfortably close presence, their plaid kilts, wet t-shirts, matted hair, disheveled nightgowns, and pretty gingham dresses keeping them in your face but unavailable, emotionally suggestive but ambivalently distanced. This handsome, compact volume, the first to include all twelve of the Centerfold images, is run through with an informative, involved text by Lisa Phillips, Head Curator of the New Museum and a long-time supporter of Sherman's work.
PUBLISHER Skarstedt Fine Art
BOOK FORMAT Clothbound, 8.5 x 10 in. / 52 pgs / 12 color
PUBLISHING STATUS Pub Date 2/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9780970909022TRADE List Price: $30.00 CAD $35.00
Published by The Museum of Modern Art, New York. Essays by Peter Galassi and Cindy Sherman.
Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés.
Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp.
In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Cindy Sherman: 2023
Cindy Sherman: Centerfold (Untitled #96)
Cindy Sherman: 2016
Cindy Sherman
Cindy Sherman: Untitled Horrors
Cindy Sherman: The Early Works
Cindy Sherman, Thomas Ruff & Frank Montero: 1000 Faces, 0 Faces, One Face
Cindy Sherman: A Play of Selves
Cindy Sherman: Working Girl
Cindy Sherman: Centerfolds
Cindy Sherman: The Complete Untitled Film Stills