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Auction archive: Lot number 230

Cindy Sherman

Estimate
US$150,000 - US$200,000
Price realised:
n. a.
Auction archive: Lot number 230

Cindy Sherman

Estimate
US$150,000 - US$200,000
Price realised:
n. a.
Beschreibung:

Cindy Sherman Untitled (#99) signed, numbered and dated "Cindy Sherman 1982 3/10" on the reverse color coupler print 44 1/4 x 29 in. (112.4 x 73.7 cm.) Executed in 1982, this work is number 3 from an edition of 10.
Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited New York, Metro Pictures, Cindy Sherman October 16 - November 13, 1982 (another example exhibited) Amsterdam, Stedelijk Van Abbemuseum, Cindy Sherman December 1982, no. 64, n.p. (another example exhibited and illustrated) New York, Whitney Museum of American Art, Cindy Sherman July 9 - October 4, 1987, no. 64, n.p. (another example exhibited and illustrated) Paris, Jeu de Paume; Bregenz, Kunsthaus; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman 2006 - 2007, pp. 105, 251 (another example exhibited and illustrated) Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman - Untitled Horrors, May 4, 2013 - September 14, 2014, p. 74 (another example exhibited and illustrated) Los Angeles, The Broad, Cindy Sherman Imitation of Life, June 11 - October 2, 2016, no. 46, pp. 62, 154 (another example exhibited and illustrated) Art Gallery of New South Wales, Nude: Art from the Tate Collection, November 5, 2016 to February 5, 2017, p. 201 (another example exhibited and illustrated) Literature Peter Schjeldahl and I. Michael Danoff, Cindy Sherman New York, 1984, no. 64, n.p. (another example illustrated) Peter Schjeldahl and Lisa Phillips, Cindy Sherman New York, 1987, no. 64, n.p. (another example illustrated) Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 100 (another example illustrated) David Anfam, ed., Cindy Sherman New York, 2014, no. 40, p. 48 (another example illustrated) Simon Baker and Fiontan Moran, eds., Performing For The Camera, London, 2016, p. 133 (another example exhibited) Catalogue Essay Cindy Sherman’s Untitled (#99) comes from the artist’s “Pink Robes” series of four photographs, each featuring the artist adorned in a pink chenille bathrobe. This 1982 series was only the second in the artist’s oeuvre in which the artist employs color. After completing her famous “Film Stills” in the late 70s, Sherman first turned to color in 1980 with her “Horizontal” photographs, in which the images were taken from odd angles and displayed in a wide, large-scale format. The “Pink Robes”, in contrast, are vertically oriented, harkening back to traditional portraiture, yet reimagined in Sherman’s characteristic contemporary interpretation. In each of the four Pink Robe photographs, completed in editions of ten, Sherman highlights vulnerability, evoking notions of female silencing and the gender roles of 20th century women. In the year these works were created, Sherman confirmed this motivation when speaking of the pink robes; she explained that she was “not thinking about movies and generalizations as much as I used to. I think it’s more psychological now, more emotional than theatrical ... I’m not working with environment behind me, I’m concentrating on the face really, so it all comes out through expressing some kind of inner emotion.” (Cindy Sherman quoted in “A Conversation with Cindy Sherman”, Succès du Bédac, exh. cat., Galerie Déjà Vu, Dijon, 1982, p. 20) In the present lot, the second in the series of four, Sherman is bathed in a sea of darkness, rendered in dramatic chiaroscuro. She holds up the corner of the pink robe to her left shoulder, not wearing it, but rather covering herself in its drapery. This is unique to (#99), which feels less posed and more candid than the others in the series, where the robe is placed more carefully and without interruption from the artist’s own hand. Shadows cut not only across the pink fabric, but also across her face, turned in a slightly three-quarter view, but with a gaze that makes direct eye contact with the viewer. This direct gaze combined with the intense contrast of light and dark evokes an ironic combination of vulnerability and self-assurance. By protecting herself with the pink robe and not breaking eye contact, Sherman is asserting the feminine woman as an archetype, incapable of objectification, wit

Auction archive: Lot number 230
Auction:
Datum:
17 May 2017
Auction house:
Phillips
New York
Beschreibung:

Cindy Sherman Untitled (#99) signed, numbered and dated "Cindy Sherman 1982 3/10" on the reverse color coupler print 44 1/4 x 29 in. (112.4 x 73.7 cm.) Executed in 1982, this work is number 3 from an edition of 10.
Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited New York, Metro Pictures, Cindy Sherman October 16 - November 13, 1982 (another example exhibited) Amsterdam, Stedelijk Van Abbemuseum, Cindy Sherman December 1982, no. 64, n.p. (another example exhibited and illustrated) New York, Whitney Museum of American Art, Cindy Sherman July 9 - October 4, 1987, no. 64, n.p. (another example exhibited and illustrated) Paris, Jeu de Paume; Bregenz, Kunsthaus; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman 2006 - 2007, pp. 105, 251 (another example exhibited and illustrated) Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman - Untitled Horrors, May 4, 2013 - September 14, 2014, p. 74 (another example exhibited and illustrated) Los Angeles, The Broad, Cindy Sherman Imitation of Life, June 11 - October 2, 2016, no. 46, pp. 62, 154 (another example exhibited and illustrated) Art Gallery of New South Wales, Nude: Art from the Tate Collection, November 5, 2016 to February 5, 2017, p. 201 (another example exhibited and illustrated) Literature Peter Schjeldahl and I. Michael Danoff, Cindy Sherman New York, 1984, no. 64, n.p. (another example illustrated) Peter Schjeldahl and Lisa Phillips, Cindy Sherman New York, 1987, no. 64, n.p. (another example illustrated) Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 100 (another example illustrated) David Anfam, ed., Cindy Sherman New York, 2014, no. 40, p. 48 (another example illustrated) Simon Baker and Fiontan Moran, eds., Performing For The Camera, London, 2016, p. 133 (another example exhibited) Catalogue Essay Cindy Sherman’s Untitled (#99) comes from the artist’s “Pink Robes” series of four photographs, each featuring the artist adorned in a pink chenille bathrobe. This 1982 series was only the second in the artist’s oeuvre in which the artist employs color. After completing her famous “Film Stills” in the late 70s, Sherman first turned to color in 1980 with her “Horizontal” photographs, in which the images were taken from odd angles and displayed in a wide, large-scale format. The “Pink Robes”, in contrast, are vertically oriented, harkening back to traditional portraiture, yet reimagined in Sherman’s characteristic contemporary interpretation. In each of the four Pink Robe photographs, completed in editions of ten, Sherman highlights vulnerability, evoking notions of female silencing and the gender roles of 20th century women. In the year these works were created, Sherman confirmed this motivation when speaking of the pink robes; she explained that she was “not thinking about movies and generalizations as much as I used to. I think it’s more psychological now, more emotional than theatrical ... I’m not working with environment behind me, I’m concentrating on the face really, so it all comes out through expressing some kind of inner emotion.” (Cindy Sherman quoted in “A Conversation with Cindy Sherman”, Succès du Bédac, exh. cat., Galerie Déjà Vu, Dijon, 1982, p. 20) In the present lot, the second in the series of four, Sherman is bathed in a sea of darkness, rendered in dramatic chiaroscuro. She holds up the corner of the pink robe to her left shoulder, not wearing it, but rather covering herself in its drapery. This is unique to (#99), which feels less posed and more candid than the others in the series, where the robe is placed more carefully and without interruption from the artist’s own hand. Shadows cut not only across the pink fabric, but also across her face, turned in a slightly three-quarter view, but with a gaze that makes direct eye contact with the viewer. This direct gaze combined with the intense contrast of light and dark evokes an ironic combination of vulnerability and self-assurance. By protecting herself with the pink robe and not breaking eye contact, Sherman is asserting the feminine woman as an archetype, incapable of objectification, wit

Auction archive: Lot number 230
Auction:
Datum:
17 May 2017
Auction house:
Phillips
New York
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