Cindy Sherman (b. 1954)
Untitled #200
signed, numbered and dated 'Cindy Sherman 5/6 1989' (on a paper label affixed to the reverse)
color coupler print in artist's frame
37 x 27 in. (94 x 68.6 cm.)
Executed in 1989. This work is number five 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, no. 31 (another example illustrated).
R. Krauss, Cindy Sherman: 1975-1993, New York, 1993, pp. 175 and 231 (another example illustrated).
C. Schneider, Cindy Sherman: History Portraits, Munich, 1995, p. 19 (another example illustrated).
C. Döttinger, Cindy Sherman: History Portraits, Munich, 2012, p. 19 (another example illustrated).
Los Angeles, The Broad, Cindy Sherman: Imitation of Life, June–October 2016, p. 104 (another example exhibited and illustrated)
Paris, Jeu de Paume; Bregenz, Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art, and Berlin, Martin-Gropius-Bau, Cindy Sherman, May 2006-September 2007, pp. 141 and 257 (another example exhibited and illustrated).

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Alex Berggruen
Alex Berggruen

Lot Essay

“Once I’m set up, the camera starts clicking, then I just start to move and watch how I move in the mirror. It’s not like I’m method acting or anything. I don’t feel that I am that person. I may be thinking about a certain story or situation, but I don’t become her. There’s this distance. The image in the mirror becomes her–the image the camera gets on the film. And the one thing I’ve always known is that the camera lies.” (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, p. 23).

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