Cindy Sherman

chromogenic print, mounted, framed, 2 Metro Pictures, New York, labels, one signed, dated, and editioned '1/5' by the photographer in ink, on the reverse, 1980

Cindy Sherman (Paris, 2006), unpaginated

This print, on paper with a slightly pebbled texture, is in generally excellent condition. The colors are rich and saturated. The print has faded only slightly over time, as evidenced by the very slightly darker narrow band of the image, along the lower edge, that has been covered by the mat. In raking light, 2 small raised areas are visible in the center of the image. Various glossy, transparent deposits, possibly original retouching, are also visible on the print upon close examination. The photograph is partially overmatted along the top margin edge of the print. These issues do not detract from the overall attractive quality of the print.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1980, Cindy Sherman produced her first series of photographs in color, veering away from the austere and nostalgic black-and-white format of her 1977-80 Untitled Film Still series.  Still utilizing costume, makeup, and wigs as she had done in the earlier series, Sherman appears in these photographs, such as that offered here, posed in front of screens upon which she has projected various indoor and outdoor scenes.  Unlike her 'on-location' style in the black-and-white Film Stills, the studio setting allowed Sherman greater control over material and content of a photograph.  The photographs in this series are often composed of closeups in which Sherman appears mid-emotion, suggesting scenes from a television put on pause.