Untitled Film Stills. Photographs by Cindy Sherman. Essay by Arthur Danto. Rizzoli, New York, 1990. 14 pp. text + plates. Small folio. First U.S. edition. SIGNED on front flyleaf. Clothbound in photo-illustrated dust jacket. 40 black-and-white reproductions.
"I can think of no body of work at once so timeless and yet so much of its own time as Cindy Sherman's stills...They are wry, arch, clever works, smart, sharp, and cool. But they are among the rare works of recent decades that rise to the demand on great art, that it embody the transformative metaphors for the meaning of human reality."--Arthur Danto
Among the most influential artists of the last thirty years, Cindy Sherman made her name with this body of work, in which she enacted a seemingly unending series of b-movie cliches--in the process launching endless seminar discussions on the construction of femininity in and through popular culture. As critic Jerry Saltz wrote of her 2007 show at Metro Pictures in New York,
"Cindy Sherman's is the face that launched a thousand theories. The best-known, most influential, least criticized, most lionized artist to emerge since Bruce Nauman, Sherman has a ruthless one-track mind whose powers of observation and parody have given us a rogue's gallery of archetypes, imaginary beings, demented dorks, ghouls, historical characters, and people she sees. Today, she's essentially doing what she's done since the mid-seventies: taking photographs of herself in female drag. Sherman is the siren-sorceress femme-fatale female-impersonator artist par excellence, a shape-shifting, attention-getting gremlin on the wing of photography. Over the decades we've seen her in almost 500 images, nearly always alone and center stage or lurking in gaudy disheveled backgrounds, staring blankly off into space or directly out at us."
Fine- in Near Fine+ dust jacket; tiny nicks to lower corners; jacket with small edge tears at upper corners (1/2 in./1 cm.).