Museum of Contemporary Art, Los Angeles, CA
Museum of Modern Art, New York, NY
San Francisco Museum of Modern Art, San Francisco, CA
Solomon R. Guggenheim Museum, New York, NY
Tate Gallery, London, England
Victoria and Albert Museum, London , England
Whitney Museum of American Art, New York, NY
Centre Georges Pompidou, Paris, France
Centro de Arte Reina Sofia, Madrid, Spain
Corcoran Gallery of Art, Washington, DC
Metropolitan Museum of Art, New York, NY
Metro Pictures Gallery, New York, NY
Sprüth Magers, Berlin, Germany and London, England
Known for posed photographs that explore and question representations of women from Renaissance portraiture to contemporary mass media, Cindy Sherman is one of the most important artists working today. Serving as her own model in the majority of her work, Sherman's self-portraits came to prominence in the late 1970s through a series of black-and-white photographs called Untitled Film Stills. In these works, produced between 1977 and 1980 and evocative of glossy 8x10-inch publicity shots, Sherman used different costumes, backdrops, wigs, facial expressions, make-up, and poses to transform herself into a range of female archetypes from debutante to starlet, from housewife to lush.
A remarkable performer, Sherman reconfigures her face and body for the camera — either through subtle distortions or grotesque prosthetics — to render herself all but unrecognizable to the audience. Each image is overloaded with detail, every nuance caught by the artist's eye. While Sherman is usually disguised in her pictures, she leaves details slightly askew so that the constructed scene, and its related artifice, is revealed.
Since the early 1980s, most of Sherman's work has been of larger scale and in color, but her principal concern—to confront how media influences our perception of identity— has remained constant. All of the photographs are untitled and Sherman's characters (with the exception of several sequential shots in the Untitled Film Still series) have never appeared twice, leaving the viewer to consider the works without any narrative help from the artist.