SHERMAN, CINDY

PUBLISHER
THE MUSEUM OF MODERN ART, NEW YORK

BOOK FORMAT
Clth, 9.5 x 12 in. / 264 pgs / 153 color / 102 bw.

PUBLISHING STATUS
PUB DATE 2/29/2012
Active

DISTRIBUTION
D.A.P. EXCLUSIVE
CATALOG: SPRING 2012 p. 3   

PRODUCT DETAILS
ISBN 9780870708121 TRADE
LIST PRICE: $60.00 CDN $60.00

AVAILABILITY
In stock

EXHIBITION SCHEDULE

New York
The Museum of Modern Art, 02/26/12-06/11/12

San Francisco, CA
San Francisco Museum of Modern Art, 07/14/12-10/07/12

Minneapolis, MN
Walker Art Center, 11/10/12-02/17/13

Dallas, TX
Dallas Museum of Art, 03/17/13-06/09/13

"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, The New York Times

  

THE MUSEUM OF MODERN ART, NEW YORK

Cindy Sherman

Published by The Museum of Modern Art, New York
By Eva Respini. Text by Johanna Burton. Interview by John Waters.

Featured image, "Untitled #74" (1980), is reproduced from <I>Cindy Sherman</I>.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.

Featured image, "Untitled #74" (1980), is reproduced from Cindy Sherman.

PRAISE AND REVIEWS

New York Magazine

Jerry Saltz

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."

New York Times

Roberta Smith

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.

ARTnews

Barbara Pollack

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.

Artforum

Thomas Crow

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.

The New York Review of Books

Sanford Schwartz

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.

The Art Newspaper

Liz Jobey

Eva Respini, the curator of the MoMA exhibition and the museum's curator of photography, begins her catalogue essay with some of the misreadings that have dogged Sherman's work, and lists the sucessive waves of critical theories that have claimed the artist as their own, including "postmodernism, feminism, psychoanalytic theories of the male gaze and the culture of the spectacle".

Choice

M. R. Vendryes

This overview is the most comprehensive to date because it clearly documents transformations in [Cindy Sherman's] well-known serial self-portraiture. Sherman is celebrated as the quintessential conceptual artist who uses photography. In an essay, exhibition curator Respini describes Sherman as an artist who fully represents today's prevalent "culture of the cultivated self." More adeptly than past writers, Respini firmly situates Sherman among contemporaries like Eleanor Antin, Hannah Wilke, Suzy Lake, and Adrian Piper...Highly recommended.

American Photo

A more than 30-year survey of Sherman's roles in front of the camera (movie star, housewife, aristocrat) and behind it (photographer, art director, stylist).

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 12/18/2012

Cindy Sherman: From Housewife to Horror Queen, the 'Unchallenged Cornerstone of Postmodern Photography'

Cindy Sherman: From Housewife to Horror Queen, the 'Unchallenged Cornerstone of Postmodern Photography'In her February 2012 review of Cindy Sherman's mid-career MoMA retrospective, Roberta Smith writes, "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." Featured image, Sherman's iconic "Untitled Film Still #6" (1977), is reproduced from MoMA's stellar exhibition catalog, one of our most highly recommended holiday gift books of the year. continue to blog


Cindy Sherman

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CINDY SHERMAN MONOGRAPHS + ARTIST'S BOOKS

Cindy Sherman: Untitled Horrors

CINDY SHERMAN: UNTITLED HORRORS

Text by Miranda July, Christian Kracht, Lars Norén Sjón, Sara Stridsberg.

HATJE CANTZ

ISBN: 9783775734875 | US $60.00

Pub Date: 9/30/2013
Active | In stock


Cindy Sherman: The Early Works

CINDY SHERMAN: THE EARLY WORKS

Text by Gabriele Schor.

HATJE CANTZ

ISBN: 9783775729819 | US $85.00

Pub Date: 6/30/2012
Active | In stock


Cindy Sherman

CINDY SHERMAN

By Eva Respini. Text by Johanna Burton. Interview by John Waters.

THE MUSEUM OF MODERN ART, NEW YORK

ISBN: 9780870708121 | US $60.00

Pub Date: 2/29/2012
Active | In stock


Cindy Sherman, Thomas Ruff & Frank Montero: 1000 Faces, 0 Faces, One Face

CINDY SHERMAN, THOMAS RUFF & FRANK MONTERO: 1000 FACES, 0 FACES, ONE FACE

Text by Gerardo Mosquera, Douglas Crimp, Diana Cuéllar, José Miguel G. Cortés.

LA FáBRICA/FUNDACIóN TELEFóNICA

ISBN: 9788415303152 | US $60.00

Pub Date: 10/31/2011
Active | In stock


Cindy Sherman: A Play of Selves

CINDY SHERMAN: A PLAY OF SELVES

Preface by Cindy Sherman.

HATJE CANTZ

ISBN: 9783775719421 | US $40.00

Pub Date: 2/1/2007
Active | In stock


Cindy Sherman: Working Girl

CINDY SHERMAN: WORKING GIRL

Edited by Kate Wagner. Essays by Paul Ha and Catherine Morris.

CONTEMPORARY ART MUSEUM ST. LOUIS

ISBN: 9780971219588 | US $20.00

Pub Date: 1/1/2006
Active | In stock


Cindy Sherman: Centerfolds

CINDY SHERMAN: CENTERFOLDS

Essays by Lisa Phillips, A. Grundberg, Peter Schjeldahl and Roberta Smith.

SKARSTEDT FINE ART

ISBN: 9780970909022 | US $30.00

Pub Date: 2/2/2004
Out of print | Not available


Cindy Sherman: The Complete Untitled Film Stills

CINDY SHERMAN: THE COMPLETE UNTITLED FILM STILLS

Essays by Peter Galassi and Cindy Sherman.

THE MUSEUM OF MODERN ART, NEW YORK

ISBN: 9780870705076 | US $45.00

Pub Date: 10/2/2003
Active | In stock


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