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  1. www.moma.org › calendar › exhibitionsCindy Sherman | MoMA

    26 de feb. de 2012 · Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history.

  2. Cindy Sherman. «A Cindy Book,» 1964-1975. Álbum con 26 fotografías en blanco y negro y 8 páginas con notas manuscritas. Por Óscar Colorado Nates*. Cindy Sherman era una niña ordinaria a la que simplemente le gustaba disfrazarse un poco más de lo normal.

  3. www.artnet.com › artists › cindy-shermanCindy Sherman | Artnet

    Cindy Sherman is an American photographer and filmmaker whose self-portraits offer critiques of gender and identity. What made Sherman famous is the use of her own body in roles or personas in her work, with her seminal series Untitled Film Stills (1977–1980) being particularly important. These black-and-white photographs feature the artist ...

  4. 24 de ene. de 2024 · Cindy Sherman. Through March 16, Hauser & Wirth, 134 Wooster Street, SoHo, 212-542-5660; hauserwirth.com. Nancy Princenthal is a Brooklyn-based writer whose focus is contemporary and 20th-century art.

  5. www.moma.org › 2012 › cindyshermanMoMA | Cindy Sherman

    Sherman’s history portraits (1988–90) investigate modes of representation in art history and the relationship between painter and model. These classically composed portraits borrow from a number of art-historical periods—Renaissance, baroque, rococo, Neoclassical—and make allusions to paintings by Raphael, Caravaggio, Fragonard, and Ingres (who, like all the Old Masters, were men).

  6. Cindy Sherman, American photographer known for her images, particularly her ‘disguised’ self-portraits, which comment on social role-playing and sexual stereotypes. One of her best-known series, Untitled Film Stills, features black-and-white photographs of Sherman in a variety of roles reminiscent of film noir.

  7. There are, of course, no men. The sixty-nine solitary heroines map a particular constellation of fictional femininity that took hold in postwar America—the period of Sherman's youth, and the ground-zero of our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large.

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