Cindy Sherman

Overview

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 ...
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Overview

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 (born 1954) is widely recognized as one of the most important and influential artists in contemporary art. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser and stylist. With an arsenal of wigs, costumes, makeup, prosthetics and props, the artist has altered her physique and surroundings to create myriad tableaux, from screen siren to clown to aging socialite. Over the past 35 years, Sherman has sustained a provocative investigation into the nature of identity, drawn from movies, television, magazines, the Internet and art history. Sherman lives and works in New York City.
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Editorial Reviews

New York Magazine
Coming into the art world of the seventies, she found more bad fathers: In MoMA's excellent catalogue she speaks to John Waters about being "disgusted with the art world the boy artists, the boy painters."
— Jerry Saltz
The New York Review of Books
Cindy Sherman has explored different kinds of photography, but she has become one of the most lauded artists of her generation for her photographs of her impersonations. Since she arrived on the scene, in a 1980 exhibition, when she was in her mid-twenties, she has come before her own camera in the guise of hundreds of characters, and as an impersonator--which in her case means being a creator of people, and sometimes people-like creatures, who we encounter only in a single photograph--she has been remarkably inventive.
— Sanford Schwartz
Artforum
No feature of a Sherman image is there by accident or as a matter of convenience. These grand backdrops are legacy monuments of the older plutocracy, left as a democratic inheritance, belittling the imagination and attainments of the present-day .01 percent. As her own works have come to count among the prized trophies of that demographic, Sherman seeds into these images a grandeur belonging to a past that no private individual can now claim or master.
— Thomas Crow
ARTnews
Ever since her student efforts in the 1970s, she has been exploring the complex territory of constructing a self for the camera - a focus that placed her squarely at the forefront of postmodern theory. Nevertheless, it is still surprising to see the great variety of work she has produced from this single-minded inquiry. Her landmark achievement, "Untitled Film Stills," created between 1977 and 1980, surveys the history of women in cinema, using little more than makeup and wigs.
— Barbara Pollack
New York Times
At many points throughout this dense, often exciting show . we are confronted by an artist with an urgent, singularly personal vision, who for the past 35 years has consistently and provocatively turned photography against itself. She comes across here as an increasingly vehement avenging angel waging a kind of war with the camera, using it to expose what might be called both the tyranny and the inner lives of images, especially the images of women that bombard and shape all of us at every turn.

Although not one of her images qualifies, exactly, as a self-portrait, the Modern's show is above all an inspiring portrait of the artist ceaselessly at work, striving never to repeat herself, always trying to go deeper and further in one direction or another. Her self - remorseless, generous, imaginative and shrewd - is everywhere.
— Roberta Smith

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Product Details

  • ISBN-13: 9780870708121
  • Publisher: The Museum of Modern Art
  • Publication date: 2/29/2012
  • Pages: 264
  • Sales rank: 432,847
  • Product dimensions: 9.80 (w) x 12.26 (h) x 1.12 (d)

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