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Cindy Sherman, by Eva Respini, Johanna Burton
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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.
- Sales Rank: #319885 in Books
- Brand: Brand: The Museum of Modern Art, New York
- Published on: 2012-02-29
- Original language: English
- Number of items: 1
- Dimensions: 12.50" h x 10.00" w x 1.25" l, 4.70 pounds
- Binding: Hardcover
- 264 pages
- Used Book in Good Condition
Review
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). (American Photo)
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. (M. R. Vendryes Choice)
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". (Liz Jobey The Art Newspaper)
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 The New York Review of Books)
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 Artforum)
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 ARTnews)
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 The New York Times)
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 New York Magazine)
About the Author
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.
Most helpful customer reviews
13 of 13 people found the following review helpful.
Narcissism as Art: The Genius of Cindy Sherman
By Grady Harp
Cindy Sherman may alter her content for periods of time as she continues to be hailed as one of the most important photographic artists of the day but the subject matter is consistent: Cindy Sherman, the model. Does the work ever become repetitive? No. It simply gets more interesting as time moves along. This magnificent monograph covers the full career o f this fascinating artist's output and if ever there were a single volume to collect for those who admire her work, this is the book to purchase.
There are fine written contributions by Eva Respini and Johanna Burton and, very much in the style of Sherman's work, there is a fascinating and humorous interview/conversation between Cindy Sherman and the outrageous film maker John Waters that tackles the subject of creativity.
But by far the bulk of this fine book is the reproduction of works by Sherman, including Untitled Film Stills, her original works from 1977 to 1980, the Centerfolds from 1981, almost all of her history portraits which occupied her from 1989 to 1990, the series of head shots from 2000 to 2002, and her most recent work examining the subject of aging in this youth centric time in which we live.
The historic figures are both challenging and humorous as Sherman poses as queens, famous women, and historic concepts. The degree of costume manipulation and extreme makeup, costumes, and props she devises are features of her work that are extraordinary in and of themselves. But then the context in which she places herself in these historic images is so correct that the images challenge the mind. She is particularly spectacular when she arranges multiple figures (each figure being herself) in tableaux - feats that nearly defy belief. But for every bit of humor that is portrayed there is a companion pie that touches the heart. None of her work is superficial: everything she creates is done with meticulous preparation. Highly Recommended. Grady Harp, May 12
2 of 2 people found the following review helpful.
Crazy woman crazy cool
By K C
Never liked her when I was in art school. Thought she was pretentious as hell. But after seeing her special exhibition in Dallas a few months ago, I was totally impressed. You have to see her work as a whole to appreciate how ingenious she is. Granted I still think she is a narcissistic and pretentious snob, there is something about the "Where's Waldo" like quality in her work that keeps you looking for more.
0 of 0 people found the following review helpful.
Always up there
By Bob Whalen
As a huge fan of Cindy Sherman's work, I'm glad to see this compilation with some pictures that I had never seen before, and relatively affordable. She is really one of the most influential forces in recent photography and keeps reinventing herself in amusing and powerful ways. I would like to see some of the photos in here a lot larger than they were reproduced, although this doesn't reduce their overall impact and appeal. Definitely worth the buy.
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