Cindy Sherman

Metro Pictures Gallery, New York
Acquired by the present owner from the above in 1982

Cincinnati, The Contemporary Art Center, Jenny Holzer & Cindy Sherman: Personae, January - February, 1986, p. 18, illustrated (another example exhibited)
New York, Whitney Museum of American Art; Boston, Institute of Contemporary Art; Dallas, Museum of Art, Cindy Sherman, July - October 1987, cat. no. 62, illustrated in color (another example exhibited)
Los Angeles, Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; Bordeaux, capc Musée d'Art Contemporain; Sydney, Museum of Contemporary Art; Toronto, Art Gallery of Ontario, Cindy Sherman Retrospective, November 1997- April 1999, cat. no. 79, illustrated (another example exhibited)
Paris, Jeu de Paume; Bregenz, Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, May 2006 - September 2007, illustrated (another example exhibited)

Peter Schjeldahl and I. M. Danoff, Cindy Sherman, New York, 1984, pl. no. 62, illustrated in color 

 

This work is in very good condition overall. There are no apparent condition problems with this work. Framed under Plexiglas.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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In the 'Pink Robe' series, the protagonist appears to adopt a completely unstaged, unaffected pose, staring straight at the camera, in total contrast to Sherman's earlier works, with their emphasis on dressing up and play acting - as Cindy Sherman was seeking to prove, ironically, that naturalism is simply another layer of disguise, and perhaps the most enigmatic of all. The subject's facial expression and general appearance suggest someone caught unaware while getting out of bed, or the bath, modestly holding their robe against the body. This series evolves through a sequence of subtle chromatic and stylistic variations, like a suite of old fashioned studies based on the nuances of a particular color, or the drapery of a figure's clothing, but suffused and perverted here by a troubling sense of intimacy.
Laura Mulvey (Exh. Cat, Paris, Jeu de Paume, Cindy Sherman, 2006, p. 250)