PHOTOGRAPHY MONOGRAPHS

Cindy Sherman

Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays


             

ACTIVE BACKLIST

Cindy Sherman: Untitled Horrors

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

Pbk, 8.5 x 11 in. / 220 pgs / 150 color. | 9/30/2013 | In stock
ISBN 9783775734875 | $60.00


Cindy Sherman: The Early Works

HATJE CANTZ
Text by Gabriele Schor.

Hbk, 9 x 11.5 in. / 375 pgs / 48 color / 240 duotone. | 6/30/2012 | In stock
ISBN 9783775729819 | $85.00


Cindy Sherman

THE MUSEUM OF MODERN ART, NEW YORK
By Eva Respini. Text by Johanna Burton. Interview by John Waters.

Clth, 9.5 x 12 in. / 264 pgs / 153 color / 102 bw. | 2/29/2012 | In stock
ISBN 9780870708121 | $60.00


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

LA FáBRICA/FUNDACIóN TELEFóNICA
Text by Gerardo Mosquera, Douglas Crimp, Diana Cuéllar, José Miguel G. Cortés.

Hbk, 8 x 10 in. / 156 pgs / illustrated throughout. | 10/31/2011 | In stock
ISBN 9788415303152 | $60.00


Cindy Sherman: A Play of Selves

HATJE CANTZ
Preface by Cindy Sherman.

Hardcover, 6 x 9 in. / 128 pgs / 72 duotone / 10 bw. | 2/1/2007 | In stock
ISBN 9783775719421 | $40.00


Cindy Sherman: Working Girl

CONTEMPORARY ART MUSEUM ST. LOUIS
Edited by Kate Wagner. Essays by Paul Ha and Catherine Morris.

Paperback, 7 x 9 in. / 56 pgs / 1 color / 23 bw. | 1/1/2006 | In stock
ISBN 9780971219588 | $20.00


Cindy Sherman: The Complete Untitled Film Stills

THE MUSEUM OF MODERN ART, NEW YORK
Essays by Peter Galassi and Cindy Sherman.

Hardcover, 9.5 x 11.25 in. / 164 pgs / 69 duotone. | 10/2/2003 | In stock
ISBN 9780870705076 | $45.00


  

OUT OF PRINT LISTING

Cindy Sherman: Centerfolds

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

Clothbound, 8.5 x 10 in. / 52 pgs / 12 color | 2/2/2004 | Not available
ISBN 9780970909022 | $30.00


Cindy Sherman: Untitled HorrorsCindy Sherman: Untitled Horrors

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

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.

PUBLISHER
HATJE CANTZ

BOOK FORMAT
Paperback, 8.5 x 11 in. / 220 pgs / 150 color.

PUBLISHING STATUS
PUB DATE 9/30/2013
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D.A.P. EXCLUSIVE
CATALOG: FALL 2013 p. 93   

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Cindy Sherman: The Early WorksCindy Sherman: The Early Works

Catalogue Raisonné, 1975-1977

Published by Hatje Cantz.
Text by Gabriele Schor.

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.

PUBLISHER
HATJE CANTZ

BOOK FORMAT
Hardcover, 9 x 11.5 in. / 375 pgs / 48 color / 240 duotone.

PUBLISHING STATUS
PUB DATE 6/30/2012
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D.A.P. EXCLUSIVE
CATALOG: SPRING 2012 p. 61   

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ISBN 9783775729819 TRADE
LIST PRICE: $85.00 CDN $85.00

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Cindy ShermanCindy Sherman

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 (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.

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
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CATALOG: SPRING 2012 p. 3   

PRODUCT DETAILS
ISBN 9780870708121 TRADE
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Cindy Sherman, Thomas Ruff & Frank Montero: 1000 Faces, 0 Faces, One FaceCindy Sherman, Thomas Ruff & Frank Montero: 1000 Faces, 0 Faces, One Face

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.

PUBLISHER
LA FáBRICA/FUNDACIóN TELEFóNICA

BOOK FORMAT
Hardcover, 8 x 10 in. / 156 pgs / illustrated throughout.

PUBLISHING STATUS
PUB DATE 10/31/2011
Active

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CATALOG: FALL 2011 p. 103   

PRODUCT DETAILS
ISBN 9788415303152 TRADE
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Cindy Sherman: A Play of SelvesCindy Sherman: A Play of Selves

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.

PUBLISHER
HATJE CANTZ

BOOK FORMAT
Hardcover, 6 x 9 in. / 128 pgs / 72 duotone / 10 bw.

PUBLISHING STATUS
PUB DATE 2/1/2007
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CATALOG: SPRING 2007 p. 61   

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ISBN 9783775719421 TRADE
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Cindy Sherman: Working GirlCindy Sherman: Working Girl

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.

PUBLISHER
CONTEMPORARY ART MUSEUM ST. LOUIS

BOOK FORMAT
Paperback, 7 x 9 in. / 56 pgs / 1 color / 23 bw.

PUBLISHING STATUS
PUB DATE 1/1/2006
Active

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CATALOG: SPRING 2006 p. 61   

PRODUCT DETAILS
ISBN 9780971219588 TRADE
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Cindy Sherman: CenterfoldsCindy Sherman: Centerfolds

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 9780970909022 TRADE
LIST PRICE: $30.00 CDN $30.00

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Not available

STATUS: Out of print | 8/15/2005

For assistance locating a copy, please see our list of recommended out of print specialists >

Cindy Sherman: The Complete Untitled Film StillsCindy Sherman: The Complete Untitled Film Stills

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.

PUBLISHER
THE MUSEUM OF MODERN ART, NEW YORK

BOOK FORMAT
Hardcover, 9.5 x 11.25 in. / 164 pgs / 69 duotone.

PUBLISHING STATUS
PUB DATE 10/2/2003
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CATALOG: FALL 2003 p. 177   

PRODUCT DETAILS
ISBN 9780870705076 TRADE
LIST PRICE: $45.00 CDN $45.00

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