Cindy Sherman

Cindy Sherman è nata nel 1954 a Glen Ridge, New Jersey. Vive e lavora a New York.

SELECTED ONE-PERSON EXHIBITIONS:

2012
Cindy Sherman, Metro Pictures, New York
Cindy Sherman, MOMA, New York
That’s Me – That’s not me: Early Works by Cindy Sherman, Sammlung Verbund, Vienna
2011
Cindy Sherman, Sprüth Magers, London
Cindy Sherman: Works from Friends of the Bruce Museum,” Bruce Museum, Greenwich, Connecticut
2010
“Untitled Film Stills,” National Gallery of Iceland, Reykjavík
2009
Gagosian Gallery, Rome
Sprüth Magers, Berlin
Sprüth Magers, London (and 2007, 2005)
2008
Metro Pictures, New York (and 1980, 1981, 1982, 1983, 1985, 1987, 1989, 1990, 1992, 1995, 1996, 1998, 1999, 2000, 2004, 2006) *
“History Portraits,” Skarstedt Gallery, New York (and 2003)
2007
Louise Lawler – Cindy Sherman, Studio Guenzani, Milano
“Cindy Sherman,” Kunsthaus Bregenz, Austria; Louisiana Museum for Moderne Kunst, Denmark; Martin Gropius Bau, Germany
2006
Cindy Sherman, Jeu de Paume, Paris*
Kunsthaus Bregenz, Bregenz, Austria
2005
Clowns, Monika Sprüht Philomene Magers, München
Guild Hall, East Hampton, New York
Cindy Sherman: Working Girl, Contemporary Art Museum, St. Luis*
2004
The Unseen Cindy Sherman-Early Transformations 1975/1976, Montclair Art
Museum, Montclair, NJ, *
Clowns, Kestnergesellschaft, Hannover *
Metro Pictures, New York
2003
Serpentine Gallery, London
Scottish National Gallery of Modern Art, Edinburgh
2001
Early Work, Studio Guenzani, Milano
Nikolaj Copenhagen Contemporary Art Center, Copenhagen
2000
Metro Picrures, New York
Gagosian Gallery, New York
Skarstedt Fine Art, New York, maggio-giugno
Bus Riders and Mystery Series, 1976/2000, greengrassi, London, November 2000-January
Hasselblad Center, Goteburg, Svezia
1999
Metro Picture, New York
1998
Metro Pictures, New York
II Duke Street, London
Galerie Rudolfinum, Praha
Museum of Contempor-ary art, Los Angeles (mostra itinerante)
Allegories, Seattle Art Museum, Washington
1997
Museum of Modern Art, New York
Studio Guenzani, Milano
Cindy Sherman, Museum Ludwig, Colonia
1996
Metro Pictures
Pace Wildenstein,Los Angeles
Museum Boijmans Van Beuiningen, Rotterdam (mostra itinerante)
Museum of Modern Art, Shiga, Giappone (mostra itinerante)
Metamorphosis: Cindy Sherman Photographs, The Cleveland Museum of Art, Cleveland

SELECTED GROUP EXHIBITIONS:

2011
ILLUMInations: La Biennale di Venezia. *
Alcala 31, Fundacion Telefonica, Madrid. PhotoEspana 2011: 1000caras / o caras / 1 rostro: Cindy Sherman, Thomas Ruff, Frank Montero.*
“The Deconstructive Impulse: Women Aritsts Reconfigure the Signs of Power, 1973-1991,” Neuberger Museum of Art, Purchase College, New York; Nasher Museum of Art at Duke University, Durham, North Carolina *
2010
“Hyper Real,” Museum Moderner Kunst, Vienna (2010-2011)
“Pictures by Women: A History of Modern Photography,” Museum of Modern Art, New York (2010-2011)
“Decadence Now! Visions of Excess,” Galerie Rudolfinum, Prague (2010-2011)
“10,000 Lives,” Gwangju Biennale, Korea *
“Mixed Use, Manhattan: Photography and Related Practices 1970s to the present,” Museo Nacional Centro de Arte Reina Sofia, Madrid *
“Skin Fruit: Selections from the Dakis Joannou Collection,” New Museum, New York
“Off the Wall: Part 1—Thirty Performative Actions,” The Whitney Museum of American Art, New York
“Sexuality and Transcendence,” Pinchuk Art Centre, Kiev
“Haunted: Contemporary Photography/Video/Performance,” Solomon R. Guggenheim Museum, New York; Guggenheim Museum, Bilboa * (2010-2011)
“The Dissolve,” SITE Santa Fe Eighth Biennial, Santa Fe, New Mexico *
2009
“Undeniably Me,” Kunstmuseum Wolfsburg, Germany (2009-2010)
“Beg Borrow and Steal,” The Rubell Family Collection Museum, Miami (2009-2010) *
“Who’s Afraid of the Artists, A Selection of Works From Francois Pinault Foundation Collection,” Palais des Arts, Dinard, France
“Dress Codes,” Third ICP Triennial of Photography and Video, International Center of Photography Museum, New York (2009-2010) *
“Mapping the Studio: Artists from the François Pinault Collection,” Punta della Dogana, Venice (2009-2010) *
“The Pictures Generation: 1974-1984,” The Metropolitan Museum of Art, New York *
“Into the Sunset: Photography’s Image of the American West,” Museum of Modern Art, New York; Seattle Art Museum (2009-2010)
“Un Certain État du Monde? A Selection of Works From Francois Pinault Foundation Collection,” Garage Center for Contemporary Culture, Moscow *
“Darkside II,” Fotomuseum Winterthur, Zürich *
2008
“Collecting Collections: Highlights from the Permanent Collection,” The Museum of Contemporary Art, Los Angles *
“Blasted Allegories: Works from the Ringier Collection,” Kunstmuseum, Luzern *
“Street and Studio,” Tate Modern, London; Museum Folkwang, Essen, Germany (2008-2009) *
The Broad Contemporary Art Museum, Los Angeles County Museum of Art, Los Angeles *
2007
“WACK! Art and the Feminist Revolution,” The Museum of Contemporary Art, Los Angeles; National Museum of Women in the Arts, Washington D.C.; P.S. 1 Contemporary Art Center, New York (2007-2008) *
“Theater without Theater,” Museum of Contemporary Art, Barcelona
Museum Ludwig, Köln
“Held Together With Water,” Sammlung Verbund, MAK, Vienna; Museum of Modern Art, Istanbul (2007-2009) *
“Panic Attack! Art in the Punk Years,” Barbican Art Gallery, London *
Sammlung Verbund, MAK, Vienna*
Hessel Museum of Art, Bard, New York
Portrait/Homage/Embodiment, Pulitzer Foundation for the Arts, St. Louis
2006
Masquerade: Role Playing in Self-Portraiture, Los Angeles County Museum of Art
The Eighth Square: Gender, Life, and Desire in the Visual Arts Since 1960,” The Museum Ludwig, Cologne
New York New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video, Grimaldi Forum Monaco *
Into Me / Out of Me, P.S. 1, New York
WHERE ARE WE GOING: Selections from the Francios Pinault Collection, Palazzo Grassi, Venice
Masquerade, Museum of Contemporary Art, Sydney
Olaf Breuning, Jim Shaw & Cindy Sherman, Metro Pictures, New York
2005
Contemporanea, Fundaciòn Juan March, Madrid*
Vertiges, Printemps de septembre a Toulouse Festival of Contemporary Images, Francia
Flashback:Revisiting the Art of the Eighties, Kunstmuseum Museum für
Gegenwartkunst, Basel*
Pandemic: Imaging AIDS, Umbrage Editions, New York
25th Anniversary Exhibition, Fay Gold Gallery, Atlanta
American Matrix: Contemporary Directions for the Harn Museum Collection, Samuel P. Harn
Museum of Art, University of Florida, Gainsville
2004
Fashioning Fiction in Photographing Since 1990, Museum of Modern Art, New York*
La Grande Parade – Portrait de l’Artiste en Clown, Galeries Nationals du Grand Palais, Paris;
National Gallery of Canada, Ottawa*
Disparities & Deformations – Our Grotesque, 5th International Site Santa Fe Biennale, New
Mexico*
Shanghai Biennale – Techniques of the Visibile, Shanghai Art Museum, China*
2003
The Last Picture Show: Artists Using Photography 1960-1982, Walzer Art Center.
Minneapolis; Museo de Arte Contemporanea de Vigo, Spain; Fotomuseum Winterthur,
Switzerland; Miami Art Center*
2002
Moving Pictures, Solomon R. Guggenheim Museum, New York
Life, Death, Love, Hate, Pleasure, Pain, Museum of Contemporary Art, Chicago*
2001
Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collection, Los Angeles County
Museum of Art; Museum of fine Arts, Boston*
2000
Let’s Entertain, Walker Art Center, Minneapolis; Centre Georges Pompidou, Parigi;
Portland Art Museum, Oregon; Museo Rufino Tamayo, Mexico City; Kunstmuseum Wolfsburg;
Miami Art Museum*
Open Ends, Museum of Modern Art, New York
Hyper Mental, Kunsthaus Zürich; Hamburger Kunsthalle
1999
Gesammelte Werke 1: Zeitgenössische Kunst seit 1968, Kunstmuseum, Wolfsburg
Notorious, Museum of Modern Art, Oxford
The American Century, Whitney Museum of American Art, New York*
Inverted Odysseys, Grey Art Gallery, New York*
The Century of the Body: Photoworks 1900-2000, Musée de l’Elysée, Lisbona
Triennale Exhibition: Sentiment of the Year 2000, Triennale di Milano, Milano
Regarding Beauty,” Hirshhorn Museum, Washington, D.C.*
1998
Mirror Images: Women, Surrealism and Self-Representation, MIT List Center, Cambridge,
Massachussettes; Miami Art Museum; San Francisco Museum of Modern Art
1997
Gender Performnce in Photography, Solomon R. Guggenheim Museum, New York*
On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection,
The Museum of Modern Art, New York
Von Beuys bis Cindy Sherman Sammlung Lothar Schirmer, Kunsthalle, Bremen*
1996
L’Informe: le Modernisme a Rebours, Centre Georges Pompidou, Musée National
d’Art Moderne, Parigi
Hall of Mirrors: Art and Film Since 1945, The Museum of Contemporary Art,
Los Angeles; The Wexner Center for the Arts, Columbus, Ohio; Palazzo delle
Esposizioni, Rome; The Museum of Contemporary Art, Chicago*
Biennale di Firenze, Firenze*

Film – Video:

1997
Office Killer, feature-film starring Molly Ringwald, Carol Kane, Jeanne Tripplehorn,
Barbara Sukowa, Good Machine and Kardana/Swinsky Films

Documentaries:

1994
Nobody’s Here But Me, a 55 minute Cinecontact production for the BBC and the Arts
Council of England, Director: Mark Stokes, producer: Robert Mcnab

Awards and Grants:

2010
Honorary Member of the Royal Academy of Arts
2009
National Artist Honoree, The Anderson Ranch Arts Center
2005
Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts
Honoree at New Museum Annual Benefit
2003
American Academy of Arts and Sciences Award
2002
National Arts Award
2001
New York State Governor\’s Arts Award
2000
The Hasselblad Foundation
1999
Goslar Kaierring Prize
1997
Wolfgang-Hahn-Preis (Gesellschaft fur Moderne Kunst am Museum Ludwig)

Selected Museum and Public Collections:

Akron Art Museum

Albright-Knox Art Gallery, Buffalo

Allen Memorial Art Museum, Oberlin, Ohio

Art Gallery of New South Wales, Sydney

Art Gallery of Ontario, Toronto

Art Institute of Chicago

Astrup Fearnley Museet for Moderne Kunst, Oslo

Australian National Gallery, Canberra

Baltimore Museum of Art, Maryland

Birmingham Museum of Art

Brooklyn Museum, New York

Burchfield Art Center, Buffalo

Carnegie Museum of Art, Pittsburgh,

Centre Georges Pompidou, Paris

Centro de Arte Reina Sofia, Madrid

Chrysler Museum, Norfolk, Virginia

Corcoran Gallery of Art, Washington, D.C.

Dallas Museum of Fine Arts

Des Moines Art Center

Duke University Museum of Art, Durham, North Carolina

Eli Broad Family Foundation, Los Angeles

Ellipse Foundation, Portugal

Emmanuel Hoffmann Foundation, Basel

Everson Museum, Syracuse

Fotomuseum Winterthur, Switzerland

Fundacio “la Caixa”, Barcelona

Galleria d’Arte Moderna e Contemporanea Pallazzo Forti, Verona, Italy

George Eastman House, Rochester

Goetz Collection, Munich

Henry Art Gallery, Washington

Hamburger Bahnhof Museum fur Gegenwart, Berlin

Hamburger Kunstalle, Hamburg

Hara Museum of Contemporary Art, Tokyo

Hayden Gallery, Massachusetts Institute of Technology, Cambridge

High Museum, Atlanta

Indianapolis Museum of Art

International Center of Photography, New York

Israeli Museum, Israel

Kunsthalle Hambourg, Germany

Kunsthaus, Zurich

Kunstmuseum Wolfsburg, Germany

Los Angeles County Museum of Art

Louisiana Museum, Humlebaek, Denmark

Madison Art Center, Wisconsin

Magasin 3, Stockholm

Malmo Konsthall, Sweden

Metropolitan Museum of Art, New York

Middlebury College Museum of Art, Middlebury, Vermont

Milwaukee Art Museum

Moderna Museet, Stockholm

Modern Art Museum of Fort Worth, Texas

Mount Holyoke College Art Museum, South Hadley, Massachusetts

Musée d’art Contemporain, Montréal

Museet for Samtidskunst, Oslo

Museo Nacional Centro de Arte Reina Sofia, Madrid

Museum Boymans-van Beuningen, Rotterdam

Museum Folkwang, Essen, Germany

Museum des 20, Jahrunderts, Vienna

Museum Ludwig, Koln

Museum of Art, Carnegie Institute, Pittsburgh

Museum of Contemporary Art, Chicago

Museum of Contemporary Art, Helsinki

Museum of Contemporary Art, Los Angeles

Museum of Contemporary Art, Luxembourg

Museum of Contemporary Art, Wright State University, Dayton

Museum of Fine Arts, Boston

Museum of Fine Arts, Houston

Museum of Modern Art, New York

Museum of Modern Art, Oslo

National Gallery of Canada, Ottowa

New Britain Museum of American Art, New Britain, Conneticut

Palmer Museum of Art, Pennsylvania State University, University Park, Pennsylvania

Philadelphia Museum of Art

Patchett Collection, San Diego

Portland Art Museum, Oregon

Power Gallery of Contemporary Art, University of Sydney, Australia

Queensland Art Gallery, Brisbane, Australia

Rijksmuseum Kroller-Muller, Otterlo, Holland

Ringling Museum, Sarasota, Florida

Rose Art Museum, Brandeis University, Walthan, Massachusetts

San Diego Museum of Contemporary Art

San Francisco Museum of Modern Art

Scottish National Gallery, Edinburgh

Solomon R. Guggenheim Museum, New York

Sprengel Museum, Hannover

St. Louis Art Museum

Staatsgalerie Stuttgart, Germany

Stedelijk Museum, Amsterdam

Tamayo Museum, Mexico City

Tampa Museum of Art

Tate Gallery, London

Tokyo Metropolitan Museum of Photography

University Art Gallery, SUNY, Binghamton

University of Kentucky Art Museum, Lexington

University of Virginia Art museum

Vancouver Art Gallery

Vasser College Art Gallery, Poughkeepsie, New York

Victoria and Albert Museum, London

Wadsworth Atheneum, Hartford

Walker Art Center, Minneapolis

Weatherspoon Art Gallery, Greensboro, North Carolina

Whitney Museum of American Art, New York

Monographs:

2012
Schor Gabriele, Cindy Sherman: The Early Works, 1975-1977, Catalogue Raisonné. Ostfildern, Germany, Hatje Cantz, 2012 
2011
Silver, Kenneth E., Peter C. Sutton, and Linda Nochlin, Cindy Sherman:Works from Friends of the Bruce Museum. Greenwich, Conn.: Bruce Museum, 2011
2008
Cindy Sherman, Metro Pictures and Sprüth Magers, New York, pp. 40
2007
Cindy Sherman,
Francesco Bonami (ed.), Cindy Sherman, Mondadori Electa S.p.A., Milan
A Play of Selves, Hatje Cantz Verlag, Metro Pictures, New York
2006
Julie Rouard (ed.), Cindy Sherman, Jeu de Paume & Flammarion, Paris
Johanna Burton, Cindy Sherman, The October Files, MIT Press, Boston
2005
Working Girl, Essay by Catherine Morris, Contemporary Art Museum St. Louis
2004
Clowns, Schirmer/Mosel, Hannover
2003
The Complete Untitled Film Stills, Museum of Modern Art, New York
Centerfolds, Skarstedt Fine Art, New York
Cindy Sherman, Serpentine Gallery, London
2001
Hysteric Two, Hysteric Glamour, Tokyo
2000
Early Work of Cindy Sherman, foreword by Edsel Williams, Glenn Horowitz Bookseller, New York
Cindy Sherman, ed. by Gunilla Knape, Hasselblad Center, Goteborg, Sweden
1999
The Essential Cindy Sherman, The Wonderland Press/Abrams, New York
1997
Retrospective, Museum of Contemporary Art, Los Angeles
Katharina Schmidt & Marc Scheps, Cindy Sherman, Museum Ludwig, Cologne
Cindy Sherman: A Selection From the Eli Broad Foundation’s Collection, essays by Frederica Palomero & Joanne Heyler, Museo de Bellas Artes, Caracas, Venezuela
1996
Cindy Sherman, essays by Betty van Garrel, Verena Lueken, Hal Foster, Margrit Brehm, Peter Schjeldahl, Museum Boijmans-van Beuningen, Rotterdam
Cindy Sherman, essays by Amelia Arenas, Chika Mori, Akio Obigane, sachiko Osaki, interview with Noriko Fuku, Museum of Modern Art, Shiga, Japan; Marugame Genichiro-Inokuma Museum of Contemporary Art; Museum of Contemporary Art, Tokyo
1995
Christa Schneider, Cindy Sherman: History Portraits, Schirmer Mosel, Munich
Cindy Sherman: Photoarbeiten 1975-1995, introduction by Zdenek Felix and Martin Schwander, text by Elisabeth Bronfen and Ulf Erdmann Ziegler, Deichtorhallen Hamburg, Malmo Konsthall, Kunstmuseum Luzern
Cindy Sherman: The Self Which Is Not One, essay by Carlos Basualdo, Museu de Arte Moderna de Sao Paulo, Brazil
1993
Rosalind Krauss, Cindy Sherman: 1975-1993, Rizzoli, New York
1991
Cindy Sherman, essay by Thomas Kellein, Basel Kunsthalle, Basel; Whitechapel Art Gallery, London; Staatsgalerie Moderner Kunst, Munich
History Portraits, essay by Arthur C. Danto, Rizzoli, New York and Schirmer/Mosel, Munich
Cindy Sherman: Specimens, Art Random: Kyoto Shoin International
1990
Untitled Film Stills Cindy Sherman, essay by Arthur Danto, Schirmer Mosel, Munich and Rizzoli, New York
Cindy Sherman, Mazzotta, Milan
1989
Cindy Sherman, essays by Robert Leonard and Priscilla Pitts, The National Art Gallery, New Zealand
1987
Cindy Sherman, essays by Peter Schjeldahl and Lisa Phillips, Whitney Museum of American Art, New York; The Institute of Contemporary Art, Boston, Massachussetts; The Dallas Museum of Art, Texas
Cindy Sherman, essays by Peter Schjeldahl and Els Barents, Schirmer/Mosel, Munich
Cindy Sherman, Parco Co., Ltd, Tokyo
1985
Cindy Sherman, essay by Marianne Stockebrand, Westfalischer Kunstverein, Munster
1984
Cindy Sherman, Laforet Museum, Tokyo
Cindy Sherman, essays by Peter Schjeldahl and I. Michael Danoff, Pantheon Books, New York
1983
Cindy Sherman, essay by Christian Caujolle, Musee d’Art et d’Industrie Saint-Etienne, France
1982
Cindy Sherman, Stedelijk Museum, Amsterdam

Selected Bibliography:
2011
Nancy Princenthal (ed.), The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1991, Neuberger Museum of Art, DelMonico Books Prestel, Munich, pp. 138-145
Emily Stokes, “Me, myself and why,” Financial Times, January 7
2010
Mixed Use Manhattan: Photography and Related Practices, 1970s to the Present, Museo Nacional Centro de Arte Reina Sofía, Madrid; The MIT Press, Cambridge, pp. 120-123
Massimiliano Gioni and Judy Ditner (eds.), 10,000 Lives, Gwangju Biennale Foundation, Gwangju, Korea, pp. 355
E. L. Doctorow, “America: Nowandhere,” Aperture, Fall, pp. 68, cover
Becky Poostchi, “Cindy: Blonde & Beyond,” POP, Autumn/Winter
The Dissolve: Eighth International Biennial Exhibition 2010, Site Santa Fe, New Mexico, pp. 136-139
Jennifer Blessing and Nat Trotman, Hauted: Contemporary Photography/Video/Performance, Guggenheim Museum Publications, New York, pp. 23, 38, 80-81
2009
Juan Roselione-Valadez (ed.), Beg Borrow and Steal, Rubell Family Collection, Miami, pp. 218-225
Matthew Higgs, “Best of 2009,” Artforum, December, pp. 177, cover
Elizabeth Thomas, Matrix/Berkeley: A Changing Exhibition of Contemporary Art, University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, California, pp. 286
Alison M. Gingeras and Francesco Bonami (ed.), Mapping the Studio: Artists from the François Pinault Collection, Palazzo Grassi, Venice; Mondadori Electa S.p.A., Milan, pp. 176-181; 340-341
Douglas Eklund, The Pictures Generation, 1974-1984, The Metropolitan Museum of Art, New York
Catherine Wood, “Cindy Sherman,” L’Uomo Vogue, May/June, pp. 114-121
Peter Schjeldahl, “Alien Emotions: Pictures Art Revisited,” The New Yorker, May 4, pp. 74-75
Holland Cotter, “At the Met, Baby Boomers Leap Onstage,” The New York Times, April 24, pp. C27, C30
Ben Lewis, “Cindy Sherman Shoots the Wives of the Rich,” The Evening Standard, London, April 16
Arifa Akbar, “Being Cindy Sherman,” The Independent, London, April 16
Waldemar Januszczak, “Cindy Sherman: I’m Every Woman,” The Times, London, April 12
Laura Allsop, “The ‘Real’ Cindy Sherman,” Art Review, April, pp. 70-75
Francesco Baragiola (ed.), Un Certain Etat Du Monde? Skira Editore S.p.A., Milan, pp. 74-81
“My First New York: Cindy Sherman,” New York, April 20, pp. 31
David Frankel, “Cindy Sherman: Metro Pictures,” Artforum, February, pp. 186
Eva Respini, Into the Sunset: Photography’s Image of the American West, The Museum of Modern Art, New York, pp. 128, 137 (cover)
Urs Stahel (ed.), Darkside II, Fotomuseum Winterthur and Steidl Verlag, Göttingen, pp. 47, 65, 275
2008
Calvin Tomkins, Lives of the Artists, Henry Holt and Company, New York, pp. 21-45
Michael Fried, Why Photography Matters As Art As Never Before, Yale University Press, New Haven, pp. 8-9, 13-14
Martha Schwendener, “Female Trouble,” The Village Voice, December 16, pp. 41
Jerry Saltz, “The Top Nine Shows (And One Event),” New York, December 15, pp. 55
Matthew Higgs, “Cindy Sherman,” Interview, December/January, pp. 145-149
Jerry Saltz, “Sherman’s March of Time: The Original Chameleon Shows Her Characters’ Aging—And is Reborn,” New York, December 1, pp. 76-77
David Hershkovits, “In Your Face?,” Paper, November, pp. 54-60
This is Not To Be Looked At: Highlights from the Permanent Collection, The Museum of Contemporary Art, Los Angeles, pp. 274-275
Hubert Beck and Günter Engelhard, Fotografie, Hatje Cantz Verlag, Ostfildern, pp. 244-247
Beatrix Ruf (ed.), Blasted Allegories: Works from the Ringier Collection, JRP Ringier, Zurich, pp. 222-225, 276, 316, 324-325
Mark Stevens, “How I Made It: Cindy Sherman on her ‘Untitled Film Stills,’”New York, April 14, pp. 78-79
2007
Catherine Millet, “Cindy Sherman/Nicolas Ghesquire,” French Vogue, August, pp. 158-165
Gabriele Schor, “Cindy’s Original Scene,” Held Together With Water, Sammlung Verbund, Hatje Cantz, Ostfildern, pp. 46-71
Panic Attack! Art in the Punk Years, Mark Sladen and Ariella Yedgar (ed.), Merrell Publishers Limited, London, pp. 156-161
Wrestle: Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annadale-on-Hudson, New York, pp. 52-69
Cindy Sherman and Johanna Burton, “1,000 Words: A Play of Selves,”Artforum, January, pp. 232-233
2006
Klaus Biesenbach (ed.), Into Me / Out of Me, Hatje Cantz Verlag, Ostfildern, pp. 424-425
The 80′s: A Topology, Ulrich Loock (ed), Museu Serralves, Portugal, pp. 288-293
Gabriele Schor, “Cindy’s Original Scene: Doll Clothes,” Parkett, No.78, pp. 24-28
Germano Celant and Lisa Dennison, New York New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video, Skira, Monaco, pp. 348 – 349.
No. 1, Francesca Richer and Matthew Rosenzweig (ed.), D.A.P., New York, p. 344
Superstars: von Warhol bis Madonna, Kunsthalle Wien & BA-CA Kunstforum, pp. 222, 223, 267-271
Hal Foster et al., Art Since 1900, Thames & Hudson, United Kingdom
Johanna Burton, “Cindy Sherman: Retrospective,” Artforum, May, pp. 110-111.
“Une Vision Qui Se Deploie,” interviewed by Arthur Danto, Art Press, May, pp. 24 – 31
J.M. Bernstein, Against Voluptuous Bodies, Stanford University Press, California, pp. 253 – 323
2005
Hatje Cantz Verlag, Flashback: Revisiting the Art of the 1980s, Kunstmuseum Basel, Museum fur Gegenwartskunst, Switzerland
2004
Monument to Now: The Dakis Joannou Collection, DESTE Foundation for Contemporary Art, Athens, pp. 358-359
Richard B. Woodward, “Fun to Look Different,” Art News, May, p. 108
Roberta Smith, “The Ever-Shifting Selves of Cindy Sherman, Girlish Vamp to Clown,” New York Times, 28 May, E33
Jan Avgikos, “Reviews – Cindy Sherman, Metro Pictures,” Artforum, September, p. 265
2003
“Cindy Sherman Talks to David Frankel,” interview with David Frankel,Artforum, March, pp. 54-55, 259-260
Molly Nesbit, “Bright Light, Big City: The 80s Without Walls,” Artforum, pp. 184-189, 245-8
Tom Lubbock, “The Make-up Girl,” The Independent Review, London, pp. 14-15
Gabby Wood, “I’m Every Woman…,” The Observer, London, May 18
Charlotte Mullins, “Living Doll,” Financial Times, London, June 7
Betsy Berne, “Studio Visit: Cindy Sherman,” TATE Arts and Culture, London, May/June, pp. 36-42
Simon Ford, “Head to Head: Cindy Sherman and Barbara Kruger in London,”Art Monthly, London, July-August 2003, no. 268, pp. 35-37 (cover)
John Slyce, “Beyond Recognition: The Unidentifiable Cindy Sherman,”Portfolio, London, December, No. 38, pp. 42-49
2002
Art History Aesthetics Visual Studies, editors Michael Ann Holly & Keith Moxey, essay by Michael Kelly, Yale University Press, New Haven, pp. 122-146
Hautnah – The Goetz Collection, Museum Villa Stuck, Munich pp. 82-5
Visions from America: Photographs from the Whitney Museum of American Art, Whitney Museum of American Art, New York, pp. 130, 140, 221
Art Now, Uta Grosenick & Burkhard Riemschneider (ed.), Taschen, Cologne, pp. 452-5
2001
David Gleeson, “Reviews – Cindy Sherman,” Time Out London, January 3-10, p. 52
Cheryl Kaplan, “Cindy Sherman,” Tema Celeste, January-February, p. 91
Edward Leffingwell, “Cindy Sherman at Metro Pictures,” Art in America,June, p.126
Double Life, Sabine Breitwieser (ed.), Generali Foundation, Vienna, Austria
Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collections, Los Angeles County Museum of Art, California
ABBILD: Recent Portraiture and Depiction, Landesmuseum Joanneum, Graz, Austria
American Visionaries, Whitney Museum of American Art, New York, p. 278
2000
David Pagel, “Sherman is the Very Picture of How Others Fall Short,” Los Angeles Times, 14 April, F22
Inverted Odysseys, Claude Cahun, Maya Deren, Cindy Sherman, ed. by Shelly Rice, Massachussets Institute of Technology; Grey Art Gallery, New York University; Museum of Contemporary Art, North Miami
Calvin Tompkins, “Her Secret Identities,” The New Yorker, May, pp. 74-83
Charles Gandee, “Women on the Verge,” Talk, May, p. 46
Éva Forgács, “Cindy Sherman,” Art Issues, September/October, p. 46
Wayne Koestenbaum, “Fall Gals,” Artforum, September, pp. 148-151 (and cover)
Vince Aletti, “The Lady Vanishes,” Village Voice, 21 November, p. 85
Michael Kimmelman, “Cindy Sherman,” New York Times, 24 November, p. E36
Linda Yablonsky, “Vanity Fare,” Time Out New York, Nov. 30 – Dec. 7, p. 91
Modern Contemporary: Art at MoMA Since 1980, Kirk Varnedoe, Paola Antonelli, Joshua Siegel (ed.), Museum of Modern Art, New York, pp. 2, 3, 4, 5, 6, 41, 230, 347
Hyper Mental, Kunsthaus Zürich/Hamburger Kunsthalle, Germany, p. 101
Andrew Wilson, “Cindy Sherman,” Art Monthly, December-January, pp. 33-4
1999
Peter Schjeldahl, “Valley of the Dolls,” The New Yorker, 7 June, pp. 94-95
Lilly Wei, “Cindy Sherman: Metro Pictures,” Artnews, September, p. 147
Brook S. Mason, “Sherman’s March,” Artnews, September, p. 72
Mark Van Proyen, “Cindy Sherman,” New Art Observer, October, p. 46
Jutta Koether, “Old Witnesses,” Camera Austria, Graz, no. 67, pp. 18-29 (and cover illustration)
Barbara Pollack, “The 10 Best Living Artists: Self-Denial,” Artnews, December, p. 146
Dave Hickey, “Best of the 90′s,” Artforum, December, pp. 112-3
Janet Kraynak, “Cindy Sherman at Metro Pictures,” Documents, Fall, pp. 54-8
1998
Claire Carolin, “Cindy Sherman: History Portraits,” Contemporary Visual Arts, issue. 17, p. 75
R. Forgáes, “Cindy Sherman,” Art Issues, January/February, p. 48
Miranda Sawyer, “The Invisible Woman,” The Observer (Life Weekend Segment), England, pp. 14-19
“200 Women Legends, Leaders and Trailblazers,” Vanity Fair, November, p. 250
1997
Phoebe Hoban, “Sherman’s March,” Vogue, February, pp. 240-3, 278
Noriko Fuku, “A Woman of Parts,” Art in America, June, pp. 74-81, 125
Herbert Muschamp, “Knowing Looks,” Artforum, Summer, pp. 106-111
Peter Plagens, “The Odd Allure of Movies Never Made,” Newsweek, June 30, pp. 74-5
Mark Stevens, “Performance Anxiety,” New York, July 7, pp. 58-9
Roberta Smith, “Film Starlet Clichés, Genuine and Artificial at the Same Time,” New York Times, Arts and Leisure, 27 June, C23
Helen Molesworth, “The Comfort of Objects: Helen Molesworth on Cindy Sherman’s ‘Untitled Film Stills’ 20 Years on,” Frieze, London, September/October, pp. 45-47
Christopher Knight, “Camera Ready,” Los Angeles Times, 2 November, pp. 5, 92
Roberta Smith, “A Horror Movie, Complete with Zombies,” The New York Times, November 30, p. 41
Andrew Johnston, “Office Killer,” Time Out, December 4-11, p. 83
John Anderson, “Office Killer Takes Aim at Horror Genre,” The Los Angeles Times, December 5
1996
Dike Blair, “A Chat with Cindy Sherman,” Flash Art, March/April, p. 82
Hilton Als, “She Came From SoHo,” The New Yorker, 22 April, pp. 38-39
1995
Peter Schjeldahl, “Master Class,” The Village Voice, February 7, p. 77
Dike Blair, “Cindy Sherman – Metro Pictures,” Flash Art, March – April, p. 103
Neville Wakefield, “Cindy Sherman,” Artforum, April, p. 89
Kim Paice, “Cindy Sherman,” Art in America, May, pp. 112-3
Ken Johnson, “Cindy Sherman,” Art in America, May, pp. 112-3
Michael Kimmelman, “Portraitist in the Halls of Her Artistic Ancestors,” New York Times, 19 May, C1, C7
1994
Andrew Menard, “Cindy Sherman: The Cyborg Disrobes,” Art Criticism, vol. 9, no. 2, pp. 38-48
Emily B. Greenberg, “Cindy Sherman and the Female Grotesque,” Art Criticism, vol. 9, no. 2, pp. 49-55
From Beyond the Pale – Cindy Sherman Photographs 1977-1993, Irish Museum of Modern Art, Dublin
Jurgen Klauke – Cindy Sherman, Sammlung Goetz, Munich
1993
Jan Avgikos, “Cindy Sherman: Burning Down the House,” Artforum, Jan., pp. 74-9
Louise Lawler, Cindy Sherman, Laurie Simmons, Kunsternes Hus, Oslo; Museum of Contemporary Art, Helsinki
Rosalind E. Krauss, “Cindy Sherman’s Gravity: A Critical Fable,” Artforum, September, pp. 163-164, 206
1992
Cindy Sherman, Fitcher’s Bird, Rizzoli, New York
Judith Williamson, “Images of ‘Women’: The Photography of Cindy Sherman,” Knowing Women: Feminism and Knowledge, Great Britian: The Open University, pp. 222-25 (reprint from Screen, 1982)
Elizabeth Bronfen, Over Her Dead Body, Manchester University Press
Amei Wallach, “Tough Images to Face,” Los Angeles Times, June 7
Brian D’Amato, “Cindy Sherman: Limbless Hermaphrodites and Dismembered Devil Dogs,” Flash Art, Summer, p. 107
1991
Currents 18: Cindy Sherman, Milwaukee Museum of Art
Hugo Williams, “Her Dazzling Career, Cindy Sherman at the Saatchi Collection,” Times Literary Supplement, London, 11 January, p. 10
Laura Mulvey, “A Phantasmagoria of the Female Body: The Work of Cindy Sherman,” New Left Review, #188, July-August, pp. 136-51
Ursula Pia Jauch, “I am Always the Other,” Parkett, Zurich, no. 29, pp. 74-80
Elfriede Jelinek, “Sidelines,” Parkett, no. 29, pp. 82-90
Norman Bryson, “The Ideal and the Abject,” Parkett, Zurich, no. 29, pp. 91-102
Wilfried Dickhoff, “Untitled Nr. 179,” Parkett, Zurich, no. 29, pp. 103-111
Abigail Solomon-Godeau, “Suitable for Framing,” Parkett, Zurich, no. 29, pp. 112-121
1990
Roberta Smith, “A Course in Portraiture by an Individualist with a Camera,”New York Times, Arts and Leisure, 5 January, p. C19
Glenn Collins, “A Portraitist’s Romp through Art History,” New York Times, 2 February, C17, C20
Peter Schjeldahl, “Portrait: She is a Camera,” 7 Days, 28 March, pp. 17-19
Brooks Adams, “Cindy Sherman at Metro Pictures,” Art in America, June, p. 172
“Insert: Cindy Sherman,” Parkett, Zurich, no. 24, pp. 119-133
1989
Rick Woodward, “Film Stills,” Film Comment, April, pp. 51-4
David Rimanelli, “New York: Cindy Sherman, Metro Pictures,” Artforum, Summer, p. 165
Peter Plagens, “Into the Fun House,” Newsweek, August 21, pp. 52-7
1987
Roberta Smith, “Art: Cindy Sherman at Metro Pictures,” The New York Times, May 8
Gerals Marzorati, “Sherman’s March,” Vanity Fair, October
Michael Brenson, “Art: Whitney Shows Cindy Sherman Photos,” The New York Times, July 24, C31
Arthur C. Danto, “Art: Cindy Sherman,” The Nation, 15-22 August, pp. 134-137
Ken Johnson,”Cindy Sherman and the Anti-Self: An Interpretation of Her Imagery,” Arts Magazine, November, pp. 47-53
1986
Stephen W. Melville, “The Time of Exposure: Allegorical Self-Portraiture in Cindy Sherman,” Arts Magazine, January, pp. 17-21
Deborah Drier, “Cindy Sherman at Metro Pictures,” Art in America, January
1985
Gerald Mazeroti, “Self-Possessed,” Vanity Fair, October
Andy Grundberg, “Cindy Sherman’s Dark Fantasies Evoke a Primitive Past,”The New York Times, October 20
1984
Jamey Gambrell, “Marginal Acts,” Art in America, March, pp. 114-9
Lisa Liebman, “Cindy Sherman, Metro Pictures,” Artforum, March, p. 95
Rosemary Robotham, “One-Woman Show: Cindy Sherman Puts Her Best Face Foward,” Life Magazine, June, pp. 14-22
1983
Kate Linker, “Cindy Sherman, Metro Pictures,” Artforum, January, p. 79
Currents 20. Cindy Sherman, essay by Jack Cowart, St. Louis Art Museum
Gerald Marzorati, “Imitation of Life,” Art News, September, pp. 78-87 (cover)
Lee Lescaze, “Making Faces: A Photographer Dressed up for Success,” The Wall Street Journal, November 15, p. 32
Vicki Goldberg, “Portrait of a Photographer as a Young Artist,” New York Times, 23 October
Roberta Smith, “Art,” Village Voice, November 29, p. 119
Judith Williamson, “Images of ‘Woman’: The Photographs of Cindy Sherman,” Screen, London, November/December, pp. 102-116
1982
Jamey Gambrell, “Cindy Sherman, Metro Pictures,” Artforum, February, pp. 85-6
Peter Schjeldahl, “Shermanettes,” Art in America, March, pp. 110-1
Richard Rhodes, “Cindy Sherman’s ‘Film Stills’,” Parachute, September-October, pp. 4-7 (and cover)
1981
Richard Flood, “Cindy Sherman, Metro Pictures,” Artforum, March, p. 80
Douglas Crimp, “The Photographic Activity of Postmodernism,” October, no. 15, Winter, pp. 99-102
Andy Grundberg, “Cindy Sherman: A Playful and Political Post Modernist,”New York Times, 22 November
1980
Cindy Sherman: Photographs, essay by Linda Cathcart, Contemporary Arts Museum, Houston
Craig Owens, “The Allegorical Impulse: Toward a Theory of Postmodernism, Part 2,” October 13, Summer, pp. 59-80
1979
Douglas Crimp, “Pictures,” October 8, Spring, pp. 75-88