(Glen Ridge 1954 geb.)
Untitled Film still #83
18 x 24 cm
rückseitig mit Bleistift signiert und nummeriert, Editionsnummer 7/10
Literatur: Cindy Sherman (New York: Whitney Museum of American Art, 1987), pl. 39. Cindy Sherman: Retrospective (Chicago: Museum of Contemporary Art and The Museum of Contemporary Art, Los Angeles, 1997), pl. 68. Cindy Sherman: Untitled Film Stills (New York, 1990), pl. 40. Eva Respini, Cindy Sherman (New York: The Museum of Modern Art, 2012), pl. 70.
Provenienz: Privatsammlung Tirol
Es handelt sich hier um Abbildungen von personifizierten Gefühlen mit ganz eigenem Wesen, ganz sich selbst darstellend – und nicht mich. (Cindy Sherman)
Almost 30 years after its completion, Cindy Sherman’s re-staging of the roles of women as depicted by the latently misogynistic mass media in her 1977 to 1980 serial masterpiece, the Untitled (Film Stills), still sits at the top of the heap in post-war art photography. Achingly romantic, but with a deep kind of shrewdness, her 70 chameleon-like performances completed in the understated but richly semiotic medium of the 8×10-inch gelatin silver print were instrumental in ushering in our current infatuation with the psychopathological structures of the role of photography as a way of representing the ‘true image’ of our culture.
Picking up from Marcel Duchamp and taking the baton from Andy Warhol’s prescient use of the readymade photographic image from everyday life, Sherman re-focused our sensibilities with her noir-cool, totally artificial yet captivatingly authentic performances into the ‘new’ reality of what constitutes meaning in the age of the mechanical and now fully digitalized universe.