拍品 8
  • 8

辛蒂·雪曼 《無題,電影劇照#21A,城市女孩近照》

估價
450,000 - 650,000 GBP
已售出
946,000 GBP
招標截止

描述

  • Cindy Sherman
  • 《無題,電影劇照#21A,城市女孩近照》
  • 款識:藝術家簽名並紀年1978
  • 銀鹽相紙
  • 30 x 40 inches

來源

藝術家
大都會畫廊,紐約
威拉德畫廊,紐約
私人收藏,紐約
卡倫·埃米爾,紐約
現藏家1998年購自上述藏家

展覽

阿姆斯特丹,市立博物館,〈辛蒂·雪曼〉,1982年12月,頁碼不詳,品號17,載圖(版數不詳)

紐約,惠特尼美國藝術博物館,〈辛蒂·雪曼〉,1987年7-10月,頁碼不詳,品號17,載圖(版數不詳,1版10件)

巴塞爾,巴塞爾美術館;慕尼黑,現代藝術國立美術館;倫敦,白教堂美術館,〈辛蒂·雪曼〉,1991年3-9月,19頁,載圖(版數不詳)

華盛頓哥倫比亞特區,赫希洪博物館,〈辛蒂·雪曼導演:電影劇照〉,1995年3-6月,頁碼不詳,品號21,載圖(版數不詳,1版10件)

漢堡,堤壩之門美術館;馬模,美術館;琉森,藝術博物館,〈辛蒂·雪曼:攝影作品1975-1995年〉,1995年5月-1996年2月,32頁,品號4,載圖(版數不詳,1版10件)

滋賀縣立近代美術館;丸龜市豬熊弦一郎現代美術館;東京東京都現代美術館,〈辛蒂·雪曼〉,1996年7-12月,69及180頁,品號18,載圖(版數不詳)

紐約,現代藝術博物館,〈辛蒂·雪曼:電影劇照全集〉,1997年6-9月,16頁內文,35頁載圖(版數不詳,1版10件)

洛杉磯,當代藝術博物館;芝加哥,當代藝術博物館;布拉格,魯道夫宮美術館;倫敦,巴比肯藝術中心;波爾多,CAPC波爾多當代藝術博物館;悉尼,當代藝術博物館;多倫多,安大略美術館,〈辛蒂·雪曼回顧展〉,1997年11月-2000年1月,68頁,品號22,載圖(版數不詳,1版10件)

紐約,惠特尼美國藝術博物館,〈美國百年:藝術與文化1900-2000年II〉,1999年9月-2000年2月(版數不詳)

巴黎,國立網球場現代美術館;布雷根茨,布雷根茨美術館;胡姆勒拜客,路易斯安那現代藝術博物館;柏林,馬丁·葛羅比烏斯美術館,〈辛蒂·雪曼〉,2006年5月-2007年9月,頁碼不詳,242頁載圖(版數不詳,1版10件)

紐約,大都會藝術博物館;匹茲堡,安迪·沃荷博物館,〈關於沃荷:60位藝術家,50年〉,2012年9月-2013年4月,143頁(版數不詳,1版10件)

紐約,現代藝術博物館;三藩市,三藩市現代藝術博物館;明尼阿波利斯,沃克藝術中心;達拉斯,達拉斯藝術博物館,〈辛蒂·雪曼〉,2013年2 -6月,40頁內文,103頁載圖,品號35(版數不詳,1版10件)

巴塞爾,巴塞爾藝術博物館,〈圖像:挪用策略〉,2015年8月-2016年1月,頁碼不詳(內文)(版數不詳)

倫敦,薩奇畫廊,〈從自拍到自我表達〉,2017年3-5月(版數不詳)

出版

彼得·史耶道爾、邁克爾·達諾夫,《辛蒂·雪曼》,紐約1984年,不詳頁碼及封底載圖,品號17(版數不詳)

亞瑟∙C∙丹托,《辛蒂·雪曼:無題電影劇照》,慕尼黑1990年,頁碼不詳,品號16,載圖(版數不詳)

羅莎琳德·克勞斯、諾曼·布賴森,《辛蒂·雪曼1975-1993年》,紐約1993年,30-31頁載圖(版數不詳)

展覽圖錄,鹿特丹,博伊曼斯·范伯寧恩美術館;馬德里,索菲亞王后國家藝術中心博物館;畢爾包,瑞卡地展廳;巴登-巴登,巴登-巴登美術館,《辛蒂·雪曼》,1996年3月-1997年3月,10頁,品號14,載圖(版數不詳)

凱瑟琳·莫里斯,《基本要素:辛蒂·雪曼》,紐約1999年,43頁載圖(版數不詳,1版10件)

莎莉·賴斯(編),《回溯:克勞德·察洪、瑪雅·德倫、辛蒂·雪曼》,劍橋1999年,7頁,品號1.3,載圖(版數不詳)

古尼拉·納普(編),《辛蒂·雪曼:哈蘇獎1999年》,哥德堡2000年,41頁載圖(版數不詳,1版10件)

哈麗雅特·舍霍茲·比伊、卡桑德拉·赫利澤(編),《MoMA典藏:紐約現代藝術博物館的350件作品》,紐約2004年,295頁載圖(版數不詳)

喬安娜·伯頓,《辛蒂·雪曼》,劍橋、麻省及倫敦2006年,102頁,品號28,載圖(版數不詳,1版10件)

加布莉爾·朔爾,〈辛蒂的原創場景:娃娃衣服,雪曼的早期攝影作品〉,《Parkett》雜誌,蘇黎世2006年,品號78,22頁載圖(版數不詳,1版10件)

展覽圖錄,格林尼治,布魯斯博物館,《辛蒂·雪曼:布魯斯博物館之友收藏》,2011年1-4月,33頁載圖(版數不詳)

丹尼爾·伯恩鮑姆、科妮莉亞·H·巴爾特、蘇珊·科特,《定義當代藝術:從200件重要藝術品看25年》,倫敦2011年,30頁載圖(版數不詳,1版10件)

威爾·岡珀茨,《你在看甚麼?150年現代藝術瞬間看》,倫敦2012年,353頁,品號31,載圖(版數不詳)

保羅·穆爾豪斯,《辛蒂·雪曼》,倫敦2014年,29及37頁,品號32,載圖(版數不詳)

加布莉爾·塞爾茲,《Unstill Life:一位女兒對抽象年代藝術與愛的回憶錄》,紐約2014年,274頁載圖(版數不詳)

道格拉斯·克林普,《圖像之前》,芝加哥2016年,254及256頁內文,257頁載圖(版數不詳)

尼古拉斯·默索夫,《如何看世界》,紐約2016年,52-53頁載圖(版數不詳)

拍品資料及來源

In 1977 Cindy Sherman started work on a project that would become one of the most ground-breaking and iconic photographic series of the postmodern era: the Untitled Film Stills. From the sequence of seventy images that comprise the corpus, the present work is perhaps the most widely recognised and reproduced example from the series. Depicting a young and alert career girl – perhaps on her first day in the big city – Untitled Film Still #21 utterly epitomises Sherman’s iconic portfolio of black and white images. Building on stereotypical modes of femininity – roles that became cemented in the collective consciousness of the postwar generation in America through Hollywood films and consumer culture – Sherman cast herself in the role of protagonist for a litany of fictional fictions: pseudo promotional stills for non-existent film productions. In doing this, Sherman importantly exposed ingrained gendered stereotypes and the culturally accepted subjugatory role of women. In each photograph Sherman appears in a different guise, ranging from the ingénue, the sex kitten, the hardened film-noir heroine to the sophisticate, the lonely housewife, or, as in the present work, the city girl. With a full suite of Untitled Film Stills housed in The Museum of Modern Art and having been fully canonised by a slew of art historians since their conception, this groundbreaking series is one of the most important and consequential bodies of work of the late Twentieth Century.

Conceived over a period of three years, this encyclopaedic series would come to define Sherman’s idiosyncratic artistic vocabulary and catalyse her career as one of the leading artists of the influential Pictures Generation. Similar to fellow Pictures artists Richard Prince (who was her boyfriend around that time) and Robert Longo (whom she met at college), Sherman was deeply influenced by commercial image culture and the diffusion of stereotypes via popular imagery. While Prince focused on re-photographing iconic images taken from the advertising world and Longo aimed to recreate a particular sense of motion and energy in his drawings, Sherman cast herself as the star in her own cinematic mise-en-scène.

Created in the classic format, scale, and quality that would mimic the often staged ‘stills’ used to promote films, Sherman conceived the first six pictures as a group in which she impersonated a single actress in various roles. This experiment soon expanded into a detailed survey of various different characters and scenes, all loosely inspired by film imagery. Rather than assuming overdramatic poses, however, Sherman aimed to create conceptually demanding images that would stir the viewer’s imagination and fantasies. As the artist has explained: “What I didn’t want were pictures showing strong emotions, which was rare to see; in film stills there’s a lot of overacting because they’re trying to sell the movie” (Cindy Sherman cited in: David Frankel, Ed., Cindy Sherman: The Complete Untitled Film Stills, New York 2003, p. 8). As perfectly illustrated in the present work, the scene is filled with tension. Although her face is fully visible, Sherman does not look into the camera. Negating our gaze while opening up a radical, thrilling complicity, the present work situates the viewer as both voyeur and protagonist – the work’s simultaneous consumer and subject.

Acting as a cultural mirror to the idealisation and fetishizing of stereotypical female roles in society – roles taken for granted for the best part of the Twentieth Century – these works occupy an ambiguous terrain between appropriation and imagination, fiction and reality. By employing the same seductive mechanisms as the film industry, Sherman positions the viewer as both critical observer and complicit actor in her beautifully open-ended fragmentary cinematic dramas.

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