Cindy Sherman (b. 1954)
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Cindy Sherman (b. 1954)

Untitled #205

Cindy Sherman (b. 1954)
Untitled #205
signed, numbered and dated 'Cindy Sherman 1989 1/6' (on the reverse of the backing board)
color coupler print in artist's frame
61 x 48 in. (154.9 x 121.9 cm.)
Executed in 1989. This work is number one from an edition of six.
Metro Pictures, New York
Acquired from the above by the present owner, 1990
A. Danto, Cindy Sherman: History Portraits, New York, 1991, pp. 24 and 61, no. 7 (another example illustrated).
N. Bryson, "The Ideal and the Abject: Cindy Sherman's Historical Portraits," Parkett, no. 29, 1991, p. 92 (another example illustrated).
R. Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 171 (another example illustrated).
N. Mirzoeff, Bodyscape: Art, Modernity and the Ideal Figure, London, 1995, p. 132, fig. 24 (another example illustrated).
P. Moorhouse, Cindy Sherman, London, 2014, p. 84 (another example illustrated).
Kunsthalle Basel, Cindy Sherman, March-May 1991, p. 56 (another example exhibited and illustrated).
Barcelona, Centre d'Art Santa Mònica, To Be and Not to Be, April-June 1990, p. 201 (illustrated).
Munich, Staatsgalerie Moderner Kunst, Cindy Sherman, June-July 1991 (another example exhibited).
Vienna Kunsthistorisches Museum, Diskurse de Bilder: Photokunstlerisch Reprisen Kunsthistorischer Werke, November 1993-January 1994 (another example exhibited).
Manchester City Art Galleries, Cindy Sherman: Possession, September-November 1994 (another example exhibited).
Dublin, The Irish Museum of Modern Art, Cindy Sherman, November 1994-February 1995 (another example exhibited).
Hamburg, Deichtorhollen;Kunsthalle Malmo and Kunstmuseum Lucerne, Cindy Sherman: Photoarbeiten 1975-1995, May 1995-February 1996, no. 69 (another example exhibited and illustrated).
Chateau de Grignan, Jocaste en Arcadie, October 1996-January 1997 (another example exhibited).
Horsens Kunstmuseum, Kvinden (Women), October 1997-January 1998, p. 17 (another example exhibited and illustrated).
Washington, D.C., Hirshhorn Museum and Sculpture Garden and Munich, Haus der Kunst, Regarding Beauty: A View of the Late Twentieth Century, October 1999-April 2000.
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art and Berlin, Martin-Gropius-Bau, Cindy Sherman, May 2006-September 2007, n.p. (another example exhibited and illustrated).
New York, The Museum of Modern Art, Cindy Sherman, February-June 2012, p. 183 (another example exhibited and illustrated).

Special notice
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Lot Essay

"When I was in school I was getting disgusted with the attitude of art being so religious or sacred, so I wanted to make something that people could relate to without having to read about it beforehand…so that anybody off the street could appreciate it, even if they couldn’t fully understand it; they could still get something out of it. That’s the reason why I wanted to imitate something out of culture, and also make fun of the culture as I was doing it.’” (C. Sherman, quoted in E. Respini, “Will the Real Cindy Sherman Please Stand Up?”, Cindy Sherman, exh. cat, Museum of Modern Art, New York, 2012, pp. 17-18)

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