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Collection

An image of Untitled 1988 by Cindy Sherman

Cindy Sherman

(United States of America 19 Jan 1954 – )

Title
Untitled 1988
Other titles:
MP#184
Year
1988
Media category
Photograph
Materials used
type C photograph
Edition
5/6
Dimensions

155.2 x 234.8 cm frame

Signature & date
Signed and dated centre verso, black marker "Cindy Sherman ...1988".
Credit
Purchased 1997
Accession number
371.1997
Copyright
© Courtesy Cindy Sherman and Metro Pictures
Location
Not on display
Further information

In ‘Untitled’ Cindy Sherman pushes her grotesque–burlesque sensibilities in a temporary move away from the performative images of self-transformation, such as the ‘Untitled film stills’ 1977–80 series, for which the artist is famous. The selected work is part of the Disaster series 1986–89 and typifies the intensifying scenes of constructed monstrosity, destruction and chaos that began to emerge in her macabre ‘Fairy tales’ series of 1985. It also marks Sherman’s growing fascination with integrating fragmented and simulated body parts into her images.

Championed in the 1970s and early 1980s by many feminists as an artist whose work critiques feminine stereotypes and the tropes of the mass media, some read Sherman’s subsequent work, including ‘Untitled’, as a variation on the ‘female grotesque’ and a continuation of the images by the artist that appeared to negotiate the penetrative male gaze.1 Yet such prescriptive readings and ‘ownership’ of the work suggests they may have been the impetus for Sherman’s move away from images of herself or of women, ironically reinstating a personalised aspect to her work by not appearing in them.

An eerie theatrical film-noir lighting adds a chilling dimension of abandonment and vagrancy to this image, as blue shadows pool around the debris. Strewn, torn, smashed, burnt; Sherman spares nothing on the disassembled office equipment and communication devices which fill the image. A doll lies face-down on this trash heap, grimy and stiffly grasping at the tangle of audio tape as if it were the last thread of hope. The face being unreadable, the work suggests annihilation of self and identity by the destruction of any means of connection or communication. As Sherman has commented: ‘Even though I’ve never actively thought of my work as feminist or as a political statement, certainly everything in it was drawn from my observations as a woman in this culture.’2

1. Jones A 2000, ‘Tracing the subject with Cindy Sherman’, ‘Cindy Sherman: retrospective’, Thames & Hudson, New York pp 33–49
2. Fuku N 1997, ‘A woman of parts’, ‘Art in America’, June p 80

© Art Gallery of New South Wales Photography Collection Handbook, 2007

Bibliography (5)

George Alexander, Photography: Art Gallery of New South Wales Collection, 'Tableaux - memento mori - screen culture', pg.313-335, Sydney, 2007, 314, 324 (colour illus.).

Anthony Bond, Contemporary: Art Gallery of New South Wales Contemporary Collection, 'Imagining the body', pg.246-289, Sydney, 2006, 248.

Anthony Bond, Body, Sydney, 1997. cat.no. 142

Pauline Green (Editor), Read My Lips, Parkes, 1998, 44 (colour illus.), 54. fig.no. 29

Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, 160-61 (colour illus.).

Exhibition history (2)

Body, Art Gallery of New South Wales, Sydney, 12 Sep 1997–16 Nov 1997

Read my Lips, National Gallery of Australia, Parkes, 06 Jun 1998–09 Aug 1998