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What Art Movement Was Cindy Sherman a Part of

Written By Thursday, May 5, 2022 Add Comment Edit

American lensman

Cindy Sherman
Cindy Sherman (cropped).jpg

Sherman in 2016
Born

Cynthia Morris Sherman


(1954-01-nineteen) January nineteen, 1954 (age 68)

Glen Ridge, New Jersey, U.S.
Nationality American
Education Buffalo State College
Known for Photographic self-portraits

Notable work

 Untitled#96, Untitled#153, Complete Untitled Film Stills, 1977–1980
Spouse(s)

Michel Auder

​

​

(m. 1984; div. 1999)​
Awards
  • MacArthur Fellowship[1]

Honorary doctorate degree from the Royal College of Art, London.[2]

Cynthia Morris Sherman (built-in Jan 19, 1954) is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many unlike contexts and every bit various imagined characters.

Her breakthrough work is oft considered to be the collected "Untitled Moving-picture show Stills", a series of seventy black-and-white photographs of herself evoking typical women roles in performance media (especially arthouse films and pop B-movies). In the 1980s, she used colour film and large prints, and focused more on costume, lighting and facial expression.

Sherman was the recipient of a MacArthur Fellowship in 1995.[1] She received an honorary doctorate degree from the Royal College of Art, London, in 2013.[2]

Early life and instruction [edit]

Sherman was born on January 19, 1954, in Glen Ridge, New Jersey, the youngest of the five children of Dorothy and Charles Sherman.[three] [iv] [5] Shortly after her nascence, her family moved to the township of Huntington, Long Isle. Her begetter worked equally an engineer for Grumman Aircraft.[six] Her female parent taught reading to children with learning difficulties.[7] Sherman has described her mother as good to a fault, and her father equally strict and cruel.[eight] She was raised Episcopalian.[9]

In 1972, Sherman enrolled in the visual arts section at Buffalo Country College, where she began painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself every bit different characters, cobbled together from thrift-store article of clothing.[10] Frustrated with what she saw as the limitations of painting every bit a medium of art, she abased it and took up photography. "[T]hither was nothing more to say [through painting]", she recalled. "I was meticulously copying other art, and and then I realized I could just use a camera and put my time into an idea instead."[11] Sherman has said about this time: "One of the reasons I started photographing myself was that supposedly in the bound one of my teachers would take the class out to a place near Buffalo where there were waterfalls and everybody romps around without clothes on and takes pictures of each other. I idea, 'Oh, I don't want to do this. But if we're going to accept to go to the woods I better deal with it early.' Luckily we never had to do that."[12] She spent the remainder of her college instruction focused on photography. Though Sherman had failed a required photography class as a freshman, she repeated the class with Barbara Jo Revelle, whom she credited with introducing her to conceptual art and other gimmicky forms.[13] At higher she met Robert Longo, a young man artist who encouraged her to record her process of "dolling up" for parties.[14] This was the kickoff of her Untitled Film Notwithstanding serial.[10]

In 1974, together with Longo, Charles Clough and Nancy Dwyer, she created Hallwalls, an arts middle intended equally a space that would accommodate artists from diverse backgrounds. Sherman was too exposed to the contemporary art exhibited at the Albright-Knox Art Gallery, the two Buffalo campuses of the SUNY schoolhouse system, Media Studies Buffalo, and the Eye for Exploratory and Perceptual Arts, and Artpark, in nearby Lewiston, Northward.Y.[15]

It was in Buffalo that Sherman encountered the photograph-based conceptual works of artists Hannah Wilke, Eleanor Antin, and Adrian Piper.[16] Forth with artists like Laurie Simmons, Louise Lawler, and Barbara Kruger, Sherman is considered to exist role of the Pictures Generation.[17]

Photography [edit]

Sherman works in series, typically photographing herself in a range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up creative person, hairstylist, wardrobe mistress, and model.[18]

Early piece of work [edit]

Bus Riders (1976–2000) is a series of photographs that characteristic the artist as a variety of meticulously observed characters.[19] The photographs were shot in 1976 for the Bus Potency for display on a bus. Sherman used costumes and brand-upward, including greasepaint, to transform her identity for each image, and the cutout characters were lined up along the bus's advertising strip. Some critiques say that this work showed insensitivity to race through the use of blackface makeup[xx] while others state that it was rather with the intention of exposing racism embedded in society.[21]

Other early works involved cutout figures, such as the Murder Mystery and Play of Selves.

In her landmark photograph series Untitled Film Stills, (1977–80), Sherman appears as B-moving picture and film noir actresses. When asked if she considers herself to exist acting in her photographs, Sherman said, "I never thought I was acting. When I became involved with shut-ups I needed more information in the expression. I couldn't depend on background or atmosphere. I wanted the story to come from the face. Somehow the acting simply happened."

Many of Sherman'due south photo serial, similar the 1981 Centerfolds, phone call attention to stereotypes of women in gild, films, television and magazines. When talking about one of her centerfold pictures Sherman stated, "In content I wanted a human being opening upwardly the mag suddenly await at it with an expectation of something lascivious and then feel like the violator that they would be looking at this woman who is perhaps a victim. I didn't think of them every bit victims at the time... Manifestly I'm trying to make someone feel bad for having a certain expectation".

She explained to The New York Times in 1990, "I feel I'm bearding in my work. When I look at the pictures, I never come across myself; they aren't cocky-portraits. Sometimes I disappear."[22] She describes her procedure every bit intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will go along to change external elements until she finds what she wants. She has said of her process, "I think of condign a unlike person. I expect into a mirror next to the photographic camera…it's trance-similar. By staring into information technology I try to become that character through the lens ... When I see what I want, my intuition takes over—both in the 'interim' and in the editing. Seeing that other person that's up there, that's what I want. Information technology's like magic."

Untitled Film Stills [edit]

The serial Untitled Moving picture Stills (1977–1980), with which Cindy Sherman accomplished international recognition, consists of 69 black-and-white photographs. The creative person poses in different roles (librarians, hillbillies, and seductresses), and settings (streets, yards, pools, beaches, and interiors),[23] producing a event reminiscent of stills typical of Italian neorealism or American film noir of the 1940s, 1950s and 1960s.[24] She avoided putting titles on the images to preserve their ambiguity.[25] She would often pose her heroines as solitary, expressionless, and in individual. An overarching feature of her heroines were those that did not follow conventional ideas of marriage and family. They were rebellious women who either died as that or who were later tamed by order.[10] Modest in scale compared to Sherman'south later cibachrome photographs, they are all eight 1/2 past eleven inches, each displayed in identical, simple blackness frames.[26] Sherman used her own possessions equally props, or sometimes borrowed, equally in Untitled Flick Still #11 in which the doggy pillow belongs to a friend. The shots were also largely taken in her own apartment. The Untitled Film Stills fall into several distinct groups:

  • The first six are grainy and slightly out of focus (e.m. Untitled #iv).
  • The next group was taken in 1978 at Robert Longo's family embankment firm on the due north fork of Long Isle. (Sherman met Longo in 1976 and began a relationship with him)[27]
  • Afterwards in 1978, Sherman began taking shots in outdoor locations around the urban center. E.k. Untitled Motion-picture show Even so #21
  • Sherman later returned to her apartment, preferring to work from domicile. She created her version of a Sophia Loren character from the movie Ii Women. (E.one thousand. Untitled Film Still #35 (1979))[15]
  • She took several photographs in the serial while preparing for a route trip to Arizona with her parents. Untitled Film Still#48 (1979), also known equally The Hitchhiker, was shot by Sherman'southward father[28] at sunset ane evening during the trip.
  • The remainder of the series was shot around New York, like Untitled #54, oft featuring a blonde victim typical of motion-picture show noir.[29]

The Museum of Mod Art in Manhattan purchased the series for an estimated $one million in 1995.[thirty]

1980s [edit]

In improver to her film stills, Sherman has appropriated a number of other visual forms—the centerfold, fashion photograph, historical portrait, and soft-core sex activity image. These and other series, like the 1980s Fairy Tales and Disasters sequence, were shown for the first time at the Metro Pictures Gallery in New York City.[31] [32]

It was with her series Rear Screen Projections, 1980, that Sherman switched from black-and-white to color and to clearly larger formats. Centerfolds/Horizontals, 1981, are inspired by the center spreads in style and pornographic magazines. The twelve (24 by 48 inches) photographs were initially commissioned — but non used — by Artforum's Editor in Chief Ingrid Sischy for an artist's section in the magazine.[33] She poses either on the floor or in bed, normally recumbent and often supine.[34] About her aims with the self-portraits, Sherman has said: "Some of them I'd promise would seem very psychological. While I'm working I might feel as tormented as the person I'1000 portraying."[12]

In 1982, Sherman began her Pinkish Robes series which includes Untitled #97, #98, #99 and #100.[35]

In Fairy Tales, 1985, and Disasters, 1986–1989, Cindy Sherman uses visible prostheses and mannequins for the offset fourth dimension.[24] Provoked past the 1989 NEA funding controversy involving photographs by Robert Mapplethorpe and Andres Serrano at the Corcoran Gallery of Fine art, as well as the manner Jeff Koons modeled his porn star wife in his "Made in Heaven" serial,[28] Sherman produced the Sex series in 1989. For once she removed herself from the shots, as these photographs featured pieced-together medical dummies in flagrante delicto.[36]

Betwixt 1989 and 1990, Sherman made 35 large, colour photographs restaging the settings of various European portrait paintings of the fifteenth through early 19th centuries under the title History Portraits.[37] [38]

1990s [edit]

Sex Pictures [edit]

Sherman uses prosthetic limbs and mannequins to create her Sexual practice Pictures series (1992). Hal Foster, an American fine art critic, describes Sherman'south Sex Pictures in his article Obscene, Apple-polishing, Traumatic equally "[i]n this scheme of things the impulse to erode the subject and to tear at the screen has driven Sherman […] to her recent work, where it is obliterated past the gaze."[39] Moreover, Abigail Solomon- Godeau, a photograph critic who taught fine art history at the Academy of California, illustrates Sherman'south piece of work in Suitable for Framing: The Critical Recasting of Cindy Sherman. Solomon-Godeau writes, "[Sherman's] pictures have struck many viewers every bit centrally concerned with the problematics of femininity (as role, every bit image, every bit spectacle); more recent interpretation at present finds them redolent with innuendo to "our common humanity," revealing "a progression through the deserts of human status."[forty] Reviewer Jerry Saltz told New York magazine that Sherman's piece of work is "[f]ashioned from dismembered and recombined mannequins, some adorned with pubic pilus, one posed with a tampon in vagina, another with sausages beingness excreted from vulva, this was anti-porn porn, the unsexiest sex pictures ever made, visions of feigning, fighting, perversion. … Today, I think of Cindy Sherman equally an artist who merely gets improve."[41] Commentator Greg Fallis of Utata Tribal Photography describes Sherman'southward Sex Pictures serial and her work as follow: "[t]he progression of her work reflects more than a progression of ideology. It also demonstrates a progression in approach. Sherman's initial photographs used relatively few props—just clothing. Equally her photographs became more sophisticated, then did her props. During her Centerfold series, she began to contain prosthetic body role culled from the pages of medical educational catalogs. Each new series tended to use more than prosthetics and less of Sherman herself. Past the fourth dimension she began the Sex Pictures series, the photographs were exclusively of prosthetic body parts. Oftentimes shut-up shots of prosthetic male/female genitalia, this series of photos were shot exclusively in color.[42] With her Sex Pictures, Sherman posed medical prostheses in sexualized positions, recreating—and strangely modifying—pornography. An case of this can be seen in her work entitled, Untitled,#264. Sherman displays herself with a body made of prosthetic. Her face up is the only part of her that shows but is covered by a gas mask meant to emphasize the parts of the female person body that tend to be over sexualized.[43] They are a comment on the intersection of art and sense of taste, they are a comment on pornography and the way porn objectifies the men and women who pose for information technology, they are a comment on social discomfort with overt sexuality, and they are a comment on the relationship between sex activity and violence. Yet the emphasis is however on creating a hitting prototype that seems simultaneously familiar and foreign." Utata's Dominicus Salon[44]

2000s [edit]

Between 2003 and 2004, Sherman produced the Clowns cycle, where the utilise of digital photography enabled her to create chromatically garish backdrops and montages of numerous characters. Prepare confronting opulent backdrops and presented in ornate frames, the characters in Sherman's 2008 untitled Order Portraits are not based on specific women, but the artist has made them look entirely familiar in their struggle with the standards of dazzler that prevail in a youth- and condition-obsessed civilization.

Her exhibition at the Museum of Modern Art in 2012 also presented a photographic mural (2010–11)[45] accompanied by films selected by Sherman.[46] In this mural, she photoshopped her confront with a decorative properties to transform herself into a fictitious environment. Forth with other characters, Sherman toys with the idea of reality and fantasy together.[47] Based on a 32-page insert[48] Sherman did for Popular using vintage clothes from Chanel's archive, a more recent series of large-calibration pictures from 2012 depict outsized enigmatic female figures continuing in striking isolation before ominous painterly landscapes the artist had photographed in Iceland during the 2010 eruptions of Eyjafjallajökull and on the isle of Capri.[49]

In 2017, she collaborated on a "selfie" project with Westward Magazine that was based on the concept of the "plandid," or "the planned candid photograph".[fifty] Sherman utilized a diversity of photo-correction apps to create her Instagram portraits.[51]

From 2019 she showed self-portraits executed equally tapestries by a Belgian workshop.[52] [53]

Fashion [edit]

Sherman's career has also included several mode serial, including designs for Prada, Dolce & Gabbana, and Marc Jacobs.[54] In 1983, fashion designer and retailer Dianne Benson commissioned her to create a series of advertisements for her shop, Dianne B., that appeared in several bug of Interview magazine.[55] Sherman also created photographs for an editorial in Harper's Bazaar in 1993.[56] In 1994, she produced the Mail service Card Series for Comme des Garçons for the brand's fall/wintertime 1994–95 collections in collaboration with Rei Kawakubo.[57]

In 2006, she created a series of fashion advertisements for designer Marc Jacobs. The advertisements themselves were photographed by Juergen Teller and released as a monograph by Rizzoli. For Balenciaga, Sherman created the 6-image series Cindy Sherman: Untitled (Balenciaga) in 2008; they were get-go shown to the public in 2010.[58] Too in 2010, Sherman collaborated with Anna Hu on a pattern for a piece of jewelry.[59]

Music and films [edit]

In the early on 1990s, Sherman worked with Minneapolis band Babes in Toyland, providing photographs for covers for the albums Fontanelle and Painkillers, creating a stage backdrop used in live concerts, and interim in the promotional video for the vocal "Trample Violet."[sixty] She also worked as a moving picture director. Sherman moved from photographs to moving-picture show with her flick Function Killer in 1997, starring Jeanne Tripplehorn, Molly Ringwald and Ballad Kane. Dorine, played past Carol Kane, is a stand up-in for Sherman. They accept a shared interest in arranging bodies, like a puppeteer, in diorama-like scenes.[61] According to writer Dahlia Schweitzer, Office Killer is total of unexpected characters and plot twists. Schweitzer considers the film to be a comedy, horror, melodrama, noir, feminist argument, and an art piece.[61] The picture got mixed reviews. In a review for The New York Times, art critic Roberta Smith states that the film lacks the artist's usual finesse and is a retrospective of her piece of work - "a fascinating if lumpish flake of Shermaniana."[62] Movie critic colleague to Roberta Smith, Stephen Holden, called the film "sadly inept."[63] Afterwards, she had a cameo office in John Waters' film Pecker, and also appeared in The Feature in 2008, starring ex-husband Michel Auder, which won a New Vision Award.[64] Echoing similar grisly and gory elements as her Untitled Horror series, the film includes several artistically executed murder scenes. Office Killer grossed $37,446 and received generally poor reviews, which called the moving-picture show "crude" and "laugh-complimentary."[65]

In the catalog essay[66] by Philipp Kaiser for Sherman's 2016 exhibition at the Metro Pictures Gallery, he mentioned six curt films that Sherman made while in higher, and how they were the precursors that eventually led to Office Killer beingness created. The catalog also includes a conversation between Sherman and the director of the exhibit, Sofia Coppola, in which Sherman admits that she may star in an upcoming film projection.[63]

Exhibitions [edit]

Sherman's first solo show in New York was presented at a noncommercial infinite The Kitchen in 1980.[67] When the Metro Pictures Gallery opened later that year, Sherman's photographs were the offset evidence.[68] "Untitled Moving picture Stills" were shown first at the not-profit gallery Artists Space where Sherman was working every bit a receptionist.[28] Her showtime solo exhibitions in French republic were presented by Galerie Chantal Crousel in Paris.[ citation needed ]

Sherman has since participated in many international events,[69] including SITE Santa Fe (2004);[70] the Venice Biennale (1982, 1995);[71] and v Whitney Biennials.[71] In addition to numerous group exhibitions, Sherman's work was the subject of solo exhibitions at the Stedelijk Museum in Amsterdam (1982),[72] Whitney Museum of American Fine art in New York (1987),[73] Kunsthalle Basel (1991),[74] Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1995),[75] the San Francisco Museum of Mod Fine art (1998), the Serpentine Gallery in London and the Scottish National Gallery of Modern Art (2003),[76] and Martin-Gropius-Bau in Berlin (2007),[77] among others. Major traveling retrospectives of Sherman's piece of work accept been organized by the Museum Boymans-van Beuningen in Rotterdam (1996);[78] the Museum of Contemporary Art, Los Angeles and the Museum of Modern Art in New York (1997), which was sponsored by Madonna;[79] [80] and Kunsthaus Bregenz, Austria,[81] Louisiana Museum for Moderne Kunst, Denmark,[82] and Jeu de Paume in Paris[83] (2006–2007). In 2009, Sherman was included in the seminal evidence "The Pictures Generation, 1974–1984" at the Metropolitan Museum of Art.[84]

In 2012, the Museum of Modern Art mounted Cindy Sherman, a show that chronicled Sherman'southward piece of work from the mid-1970s on and include more than 170 photographs. The exhibition travelled to the San Francisco Museum of Modern Art and the Walker Art Middle in Minneapolis.[85] In 2013, Sherman was invited to organize a bear witness within that year'southward Venice Biennale.[86]

In 2016, after a sabbatical from her studio which was spent "coming to terms with health problems and getting older," Sherman produced and staged her get-go photograph gallery in five years. The series, "The Imitation of Life," named later a 1959 melodrama by Douglas Sirk, tackles aging by presenting Sherman in highly stylized glamour portraits inspired by the divas of onetime Hollywood, such as Gloria Swanson, Mary Pickford, and Cherry Keeler. The serial was exhibited in 2016 at the Metro Pictures Gallery in New York Metropolis, and also at the Broad Museum in Los Angeles. In 2017 information technology was shown at the Spruth Magers gallery in Berlin, Germany, and at the Wexner Center for the Arts in Columbus, Ohio.[87] [88]

In 2019, the National Portrait Gallery, London, organised a major retrospective of Sherman'southward works from the mid-1970s to the nowadays day.[89]

Collections [edit]

Works by Sherman are held in the following collections:

  • Art Institute of Chicago, Chicago, IL[90]
  • The Broad, Los Angeles, CA[91]
  • Jewish Museum (Manhattan), New York, NY[92]
  • Madison Museum of Contemporary Art, Madison, WI
  • Menil Collection, Houston, TX[93]
  • Metropolitan Museum of Art, New York, NY[94]
  • Museum of Fine Arts, Houston, Houston, TX[95]
  • Museum of Modern Fine art, New York, NY[96]
  • Tate Modern, Bankside, London[97]

Feminism [edit]

In Sherman'south Faux of Life serial of 2016 she poses, in vintage costume and theatrical makeup, as a diversity of ageing extra-like women.[87]

When writing about Sherman'southward "Motion-picture show Stills" in the journal Oct, the scholar Douglas Crimp states that Sherman'due south work is "a hybrid of photography and performance fine art that reveals femininity to be an event of representation."[98]

However, Sherman does not consider her work or herself to be feminist, stating "The work is what it is and hopefully it'southward seen equally feminist work, or feminist-brash work, but I'chiliad not going to go around espousing theoretical bullshit about feminist stuff."[99]

Many scholars emphasize the relationship Cindy Sherman's piece of work has with the concept of the gaze. In item, scholars like Laura Mulvey have analyzed Sherman's Untitled serial in relation to the male gaze. In a 1991 essay on Sherman, Mulvey states that ″the accouterments of the feminine struggle to conform to a facade of desirability haunt Sherman's iconography,″ which functions as a parody of dissimilar voyeurisms captured by the camera.[100]

Others question whether this confrontation with the male gaze and a feminine struggle was an intentional consideration of Sherman'due south,[101] [102] and whether this intentionality is important in considering the feminist standpoint of Sherman's photography.

Sherman herself has identified an doubtfulness toward the Untitled series' relationship with the male gaze. In a 1991 interview with David Brittain in Artistic Photographic camera, Sherman said that "I didn't really clarify it at the time as far as knowing that I was commenting upon some feminist issue. The theories weren't there at all... But at present I can look back on some of them, and I think some of them are a little blatantly obvious, besides much like the original pin-up pictures of those times, so I have mixed feelings about them now every bit a whole series."[103]

In addition to questions of the gaze, Sherman's work is too given feminist analysis in the context of beggary. Scholars like Hal Foster[104] and Laura Mulvey interpret Sherman's use of the abject via the grotesque in 1980s projects like Vomit Pictures as de-fetishizing the female trunk.[100]

Scholar Michele Meager interprets Sherman as having been "crowned a resistant celebrity" to feminist theory.[105]

Awards and other recognition [edit]

  • 1981: Creative person-in-residence, Light Work, Syracuse, New York[106]
  • 1995: MacArthur Fellowship.[107] This fellowship grants $500,000 over five years, no strings attached, to important scholars in a wide range of fields, to encourage their future creative work.
  • 1993: Larry Aldrich Foundation Honour[ citation needed ]
  • 1997: Wolfgang Hahn Prize[108]
  • 1999: Hasselblad Honour from the Hasselblad Foundation[109]
  • 2001: National Arts Award[ commendation needed ]
  • 2005: Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts[ commendation needed ]
  • 2003: American Academy of Arts and Sciences Laurels[ commendation needed ]
  • 2009: Jewish Museum'southward Human Ray Award[110]
  • 2010: Honorary Fellow member of the Royal Academy of Arts, London[111]
  • 2012: Roswitha Haftmann Prize[112]
  • 2012: Honored past actor Steve Martin at the tenth anniversary Gala in the Garden at the Hammer Museum[113]
  • 2012: Sherman was amid the artists whose works were given equally trophies to the filmmakers of winning pictures in the 2012 Tribeca Pic Festival'southward jury competitions[114]
  • 2013: Honorary doctorate degree from the Royal College of Art, London[2]
  • 2020: Wolf Prize in Art[115]

Art market [edit]

In 2010, Sherman'due south almost half dozen human foot alpine chromogenic color impress Untitled#153 (1985), featuring the creative person as a mudcaked corpse, was sold by Phillips de Pury & Company for a record $2.7 one thousand thousand, near the $3 million loftier estimate.[116] In 2011, a print of Untitled#96 fetched $3.89 1000000 at Christie's, making it the almost expensive photograph at that time.[117]

Sherman was represented by Metro Pictures for 40 years and also by Sprüth Magers before moving to Hauser & Wirth in 2021.[118]

Influence [edit]

Sherman's work is often credited every bit a major influence for gimmicky portrait photographers.[119] I such photographer is Ryan Trecartin, who manipulates themes of identity in his videos and photography.[120] Her influence stretches to artists in other art mediums, including painter Lisa Yuskavage, visual artist Jillian Mayer, and performance artist Tracey Ullman.[121]

In Apr 2014, actor and creative person James Franco exhibited a series of photographs at the Pace Gallery called New Motion picture Stills, in which Franco restaged xx-nine images from Sherman's Untitled Film Stills.[122] The exhibit garnered mainly negative reviews, calling Franco's appropriations 'sophomoric,' 'sexist,' and embarrassingly clueless.'[123] [124]

Personal life [edit]

Sherman lived with beau artist Robert Longo, from 1974 to 1980, when they split up. Sherman married managing director Michel Auder in 1984, making her stepmother to Auder's daughter, Alexandra, and her half-sister Gaby Hoffmann.[125] They divorced in 1999.[126] From 2007 to 2011, she had a relationship with the artist David Byrne.[127] Between 1991 and 2005,[128] she lived in a fifth-flooring co-op loft at 84 Mercer Street in Manhattan's Soho neighborhood; she after sold it to histrion Hank Azaria.[129] She bought two floors in a 10-story condo building overlooking the Hudson River in West Soho,[48] [128] and today uses one as her flat and the other equally her studio and office.[130]

Sherman long spent her summers in the Catskill Mountains.[131] In 2000, she bought songwriter Marvin Hamlisch's[131] 4,200-square-pes firm on 0.4 acre in Sag Harbor for $1.5 million.[132] She afterwards acquired a 19th-century dwelling on a 10-acre waterfront[133] property on Accabonac Harbor in East Hampton, New York.[134] [135]

Sherman serves on the artistic advisory commission of the New York City-based Stephen Petronio Company[136] and on the Artists Committee of the Americans for the Arts.[137] Along with David Byrne, she was a member of Portugal's Estoril Motion picture Festival's jury in 2009.[138]

In 2012, she joined Yoko Ono and nigh 150 fellow artists in the founding of Artists Against Fracking, a group in opposition to hydraulic fracturing to remove gas from underground deposits.[139]

Sherman has expressed contempt for social media platforms, calling them "and so vulgar."[63] Nonetheless, she maintains an agile instagram business relationship[140] featuring her selfies.[141]

Controversy [edit]

Sherman has been criticized for donning greasepaint in her early Bus Riders series (1976–2000).[142] The American theatre critic Margo Jefferson has written, "[The African-American figures] all have nigh the same features, besides, while Ms. Sherman is able to give the white characters she impersonates a existent range of pare tones and facial features. This didn't look like irony to me. It looked like a stale visual myth that was still in good working gild."[143]

Books [edit]

  • Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman. MIT Press, 1999. Edited by Shelley Rice. ISBN 0-262-68106-iv.
  • Essential, The: Cindy Sherman. Harry Due north. Abrams, Inc., 1999. ISBN 0-8109-5808-two.
  • Cindy Sherman: Retrospective (Paperback). Thames & Hudson, 2000. By Amanda Cruz and Elizabeth A. T. Smith. ISBN 0-500-27987-X.
  • In Real Life: Six Women Photographers. Vacation House, 2000. Past Leslie Sills, et al. ISBN 0-8234-1498-one.
  • Early Work of Cindy Sherman. Glenn Horowitz Bookseller, 2001 ISBN 0-9654020-3-7.
  • Cindy Sherman: Photographic Works 1975-1995 (Paperback). Schirmer/Mosel, 2002. By Elisabeth Bronfen, et al. ISBN 3-88814-809-X.
  • Cindy Sherman: The Complete Untitled Film Stills. Museum of Modern Art, 2003. ISBN 0-87070-507-5.
  • Cindy Sherman: Centerfolds. Skarstedt Fine Fine art, 2004. ISBN 0-9709090-two-0.
  • Cindy Sherman: Working Girl. St. Louis, Missouri: Contemporary Fine art Museum St. Louis, 2006. ISBN 978-0-9712195-eight-8.
  • Cindy Sherman. The MIT Press, 2006. Edited by Johanna Burton. ISBN 0-262-52463-five.
  • Cindy Sherman: A Play of Selves. Hatje Cantz, 2007. ISBN 978-3-7757-1942-i.
  • Cindy Sherman. Museum of Mod Fine art, 2012. ISBN 0870708120.
  • Cindy Sherman: Untitled Horrors. Hatje Cantz, 2013. ISBN 978-3-7757-3487-5.
  • Cindy Sherman'due south Office Killer: Another Kind of Monster. Intellect Books, 2014. By Dahlia Schweitzer. ISBN 1841507075.

Film and video [edit]

  • Cindy Sherman [videorecording] : Transformations. by Paul Tschinkel; Marc H Miller; Sarah Berry; Stan Harrison; Cindy Sherman; Helen Winer; Peter Schjeldahl; Inner-Tube Video. 2002, 28 minutes, Color. NY: Inner-Tube Video.[144]
  • In 2009, Paul Hasegawa-Overacker and Tom Donahue completed a feature documentary, Guest of Cindy Sherman, almost the one-time's human relationship with Sherman. She was initially supportive, but later opposed the projection.[145]

Run into also [edit]

  • Blackface in contemporary art
  • Laurel Nakadate
  • List of most expensive photographs
  • Nikki S. Lee

References [edit]

  1. ^ a b Sherman, Cindy. "MacArthur Fellows Program". MacArthur Foundation. John D. and Catherine T. MacArthur Foundation. Retrieved March 21, 2018.
  2. ^ a b c Honorary Doctors Archived August xiv, 2013, at the Wayback Machine Royal College of Fine art, London
  3. ^ "Cindy Sherman | American photographer". Britannica.com. Retrieved November 24, 2015.
  4. ^ Genocchio, Benjamin. "ART REVIEW; Portraits of the Artist as an Actor", The New York Times, April 4, 2004; accessed May 21, 2012. "Ms. Sherman was born in Glen Ridge; when she was 3, her family moved to Huntington Beach on Long Island."
  5. ^ Sherman, Cindy; Schor, Gabriele (2012). Cindy Sherman: The Early Works 1975-1977 : Catalogue Raisonné. ISBN9783775729819.
  6. ^ Ballad Vogel (February 16, 2012), 'Cindy Sherman Unmasked", nytimes.com; accessed March 7, 2015.
  7. ^ Simon Hattenstone (January xv, 2011), Sherman: Me, myself and I The Guardian.
  8. ^ "Cindy Sherman: 'Why am I in these photos?'". the Guardian. July iii, 2016. Retrieved June nine, 2021.
  9. ^ Hattenstone, Simon (Jan xv, 2011). "Cindy Sherman: Me, myself and I". the Guardian . Retrieved April sixteen, 2022.
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External links [edit]

  • Works by Cindy Sherman in the collection of the Museum of Modern Art

Further reading [edit]

  • Michael Kelly, "Danto and Krauss on Cindy Sherman". In: M. A. Holly & K. Moxey (eds.), Fine art History, Aesthetics, Visual Studies. Massachusetts: Clark Fine art Institute, 2002.
  • Hoban, Phoebe, "The Cindy Sherman Effect". Artnews.com. 2012.

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Source: https://en.wikipedia.org/wiki/Cindy_Sherman

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