CINDY SHERMAN (B. 1954)

Untitled Film Still (#32)

细节

CINDY SHERMAN (B. 1954)
Untitled Film Still (#32)
signed and dated 'Cindy Sherman 1979' (on the reverse)
gelatin silver print
Image: 25 1/8 x 31¾ inches (64 x 80.5 cm.)
Sheet: 28 3/4 x 39 1/2 inches (73 x 100.2 cm.)
Executed in 1979. This work is an early version of Untitled Film Still (#32) signed and dated by the artist. The size and cropping are unique.

来源

Acquired from the artist

出版

L. Thomas and P. D'Agostino, eds., Still Photography, The Problematic Model, San Francisco, 1981, p. 20 (illustrated on the cover).
P. Schjeldahl and I. M. Danoff, Cindy Sherman, Munich, 1984, pl. 20 (illustrated).
A.C. Danto, Untitled Film Stills: Cindy Sherman, Munich, 1990/1998, pl. 20 (illustrated).
R. Krauss, Cindy Sherman: 1975-1993, New York, 1993, p. 39 (illustrated).
Z. Felix and M. Schwander, eds., Cindy Sherman: Photographic Work 1975-1995, Munich, 1995, pl. 17 (illustrated).
L. Verena, Film Stills: Cindy Sherman and Her 'Film Stills'--Frozen Performances, Rotterdam, 1996, no. 15 (illustrated).
H. Muschamp, "Knowing Looks: Cindy Sherman's Sixty-Nine '70s," Art Forum, May/June 1997, p. 109 (illustrated).
D. Frankel, ed., The Complete Untitled Film Stills: Cindy Sherman, New York, 2003, p. 24 (illustrated).
A. Heil and W. Schoppmann, eds., YES YES YES YES: Difference and Repetition in Pictures of the Olbricht Collection, Bonnigheim, 2005, p. 162 (illustrated).
J. Burton, ed., Cindy Sherman, Cambridge, Mass., 2006, p. 18 (illustrated).

展览

Amsterdam, Stedelijk Museum; Ghent, Gewad; Bristol, Watershed Gallery; Southhampton, John Hansard Gallery; Erlangen, Palais Stutterheim; West Berlin, Haus Am Waldsee; Geneva, Centre d'Art Contemporain; Copenhagen, Sonja Henie and Neils Onstadt Foundation; Humblebaek, Louisiana Museum, Cindy Sherman, December 1982-January 1984, no. 20 (illustrated, another example exhibited).
Tokyo, Laforet Museum Harajuku, Next Wave of American Women Vol. 2, Cindy Sherman, April-May 1984, p. 6 (illustrated, another example exhibited).
New York, Whitney Museum of American Art, Cindy Sherman, July-October 1987, pl. 20 (illustrated, another example exhibited).
Washington D.C., Hirshhorn Museum and Sculpture Garden, Directions Cindy Sherman: Film Stills, March-June 1995 (illustrated, another example exhibited).
Deichtorhallen Hamburg; Malmö Kunsthall and Kunstmuseum Lucerne, Cindy Sherman: Photographien 1975-1995, May 1995-February 1996 (another example exhibited).
Shiga, Museum of Modern Art; Marugame Genichiro-Inokuma Museum of Contemporary Art and Tokyo, Museum of Contemporary Art, Cindy Sherman, July-December 1996, no. 72 (illustrated, another example exhibited).
Museum Boijmans Van Beuningen Rotterdam; Madrid, Palacio de Velázques, Parque del Retiro Museo Nacional Centro de Arte Reina Sofia; Bilbao, Sala de Exposiciones REKALDE and Staatliche Kunsthalle Baden-Baden, Cindy Sherman, March 1996-March 1997, pl. 15 (illustrated, another example exhibitied).
Los Angeles Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; Le CAPC-Musée d'art contemporain de Bordeaux; Sydney, Museum of Contemporary Art and Toronto, Art Gallery of Ontario, Cindy Sherman: Retrospective, November 1997-January 2000 (illustrated, another example exhibited).
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art and Berlin, Martin-Gropius-Bau, Cindy Sherman, May 2006-September 2007, pp. 46 and 243 (illustrated, another example exhibited).
New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center and Dallas Museum of Art, Cindy Sherman, February 2012-June 2013, p. 106, pl. 43 (illustrated, another example exhibited).

拍场告示

Please note the updated provenance for this lot:
Acquired from the artist

拍品专文

With consummate finesse and intelligence, Cindy Sherman's Untitled Film Stills mine stereotypes in compellingly persuasive narratives or visual codes, drawing from a trove of filmic practices-lighting, cropping, framing, camera angle-as well as bodily conventions-clothing, gestures, and poses. Among the most technically persuasive of the Sherman's iconic series is Untitled Film Still (#32) (1979), where the face, neck, shoulders, and arms of a Sherman's character swim out of the darkness toward the illumination of a single match, with which she is about to light her cigarette. The ideality of this single shot is so fully reliant on the lighting of the cigarette that the moment would be lost with a single switch of a light. In a single moment Sherman captures the essential portrayl of femme fatales in film noir. She overlays a sense of Lauren Bacall, Marlene Dietrich, Lucille Ball, Rita Hayworth, Ann Savage and Jane Greer to name several, to create an image of all of them, and therefore none of them specifically. Sherman creates a perfect "copy for which there is no original" as the critic Rosalind Krauss succinctly describes the as one underlying premise of her best work.