Cindy ShermanVereinigte Staaten, 1954Untitled #92
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Über das Werk
Cindy Sherman is a major figure in the contemporary revival of directed, or staged, photography. Her work explores the pervasive effects that mass-media images have upon the construction, assumption, and projection of individual identities. Since the late 1970s, the artist has served as both photographer and model for a large cast of fictional personalities created through changes in costume, hair (usually a wig), makeup, and lighting. Sherman first gained recognition for a series of black-and-white works that imitate the look and feel of stills from popular films of the 1950s and 1960s. In 1981 she began a series of large color photographs that mimic the horizontal format of a magazine centerfold. Though formally reminiscent of such glossy spreads, Sherman’s representations are fraught with anxiety, vulnerability, and longing.
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In Untitled #92, she depicted herself in a moment of cinematic distress, crouched on the floor with wet hair. Her costume—white blouse and plaid skirt—evokes a school uniform, and her well-manicured hands offer evidence of some unknown struggle. An imposing darkness surrounds her but a bright light, suggestive of a flashlight or the headlights of a car, illuminates her blank expression.
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- 2015.157
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Ausgestellt · Saal 295
Art Institute of Chicago · 28. Sept. 2026 — jetzt · Geprüft
Ausgestellt · Saal 296
Art Institute of Chicago · 19. Aug. 2026 — 28. Sept. 2026 · Geprüft
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Derweil im Leben von Cindy Sherman
Das ganze Leben1974–1980
Together with Robert Longo
Sherman lived with the artist Robert Longo, who featured her in his 'Men in the Cities' series and encouraged her to record her 'dolling up' for parties; this was the beginning of her Film Stills. Other accounts date their meeting to 1976; they lived together until 1979 and remained friends.
1979
To Arizona with her parents: “The Hitchhiker”
Sherman shot several Film Stills while preparing for a road trip to Arizona with her parents; “Untitled Film Still #48”, known as “The Hitchhiker”, was taken by her father at sunset during the trip.
1980
First solo shows in New York
Sherman's first solo show in New York was at the non-commercial space The Kitchen, and when Metro Pictures opened later that year its first show was her photographs; the gallery went on to represent her for 40 years. The Film Stills were first shown at Artists Space, where Sherman worked as a receptionist.
1980
Ends the “Film Stills” and turns to colour
Sherman finished the Film Stills when, as she put it, she had run out of clichés, and with the Rear Screen Projections series moved from black-and-white to colour and to large formats.
1982
The Venice Biennale and the Stedelijk Museum
Sherman took part in the Venice Biennale (and again in 1995) and had a solo exhibition at the Stedelijk Museum in Amsterdam. The same year she began the Pink Robes series (Untitled #97–100).
19. Juni 1982 – 28. September 1982
Exhibition: documenta 7
