For more than 30 years now, Cindy Sherman has been enacting a gamut of female roles and identities. Contrary to popular belief, the famous Untitled Film Stills (1978–80) are not Sherman’s earliest works, but rather those photographs she took as a student at State University College at Buffalo, between 1975 and 1977. During those years, Sherman cast aside the career in painting she had initially imagined for herself and began to study photography: “I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead,” she later recalled. Cindy Sherman: The Early Works, 1975–1977 gathers all of the artist’s work from this decisive phase, in which Sherman was formulating her conceptions of gender and identity construction, gathering her toolkit of props (wigs, makeup, costumes) and becoming friends with artists such as Robert Longo (with whom she would establish the Hallwalls gallery in New York). With nearly 300 plates, including numerous previously unknown photographs, plus scholarly research by editor Gabriele Schor, this substantial volume adds a wealth of new information to our understanding of Sherman’s oeuvre. Cindy Sherman (born 1954) is one of America’s most influential living artists. Born in Glen Ridge, New Jersey, she was raised on Long Island and studied at State University College, Buffalo. Upon graduation she moved to New York and soon commenced work on the groundbreaking series that would make her name, Untitled Film Stills. In 1996, The Museum of Modern Art bought a complete set of the series for one million dollars.

Cindy Sherman: The Early Works: Catalogue Raisonné, 1975-1977

Schor, Gabriele

Reference

Hatje Cantz

Historically, women have been depicted as a projection of male fantasies, prejudices, and relationships. However in the 1970s, there was a tectonic change in the way women portray themselves in art. For the first time, female artists began to investigate visual representations of their own selves. They studied their own bodies and created the alternative views of feminine identity. Editor Gabriele Schor explores the Feminist Avant-Garde to emphasise the role that these artists played for the last four decades. The results are provocative, radical, poetic, ironic, angry, cynical, and heartfelt. Most of all they are honest, sharing a collective consciousness that reassessed, and even rejected, what came before by turning to new ways of expression in the fields of photography, performance, film, and video. Included here are works by Cindy Sherman, Ana Mendieta, Nil Yalter, Ketty La Rocca, Birgit Jürgenssen, Renate Bertlmann, Francesca Woodman, and other fearless female artists from around the world. Their work explored the female experience in all its dimensions including pregnancy, childbirth, motherhood, sexuality, partnership, beauty standards, rape, and the female body. Each artist is introduced by an essay and the book also includes fascinating interviews with leading curators in the field of feminist art. This groundbreaking book emphasises the accomplishments of women artists who have made a name for themselves while encouraging and inspiring those who have come after them.

Feminist Avant-Garde: Art of the 1970s in the Verbund Collection, Vienna

Arts & Photography

History & Criticism

Prestel

A look at the outstanding contribution given to contemporary art by female artists like Eleanor Antin, Valie Export, Birgit Jrgenssen, Cindy Sherman, Hannah Wilke, Francesca Woodman.

Donna avanguardia femminista negli anni '70: From the Sammlung Verbund Wien

Collections, Catalogs & Exhibitions

Mondadori Electa (Acc)

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Books by Schor, Gabriele