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Cindy Sherman Woman In Sundress, 2003 Hollywood/Hampton Type Series Signed Dated Numbered Framed
Cindy Sherman
Woman in Sun Dress, 2003
From Hollywood/Hampton Type Series
Lambda C-print
paper: 30 x 20 inches
image: 28.2 x 20 inches
frame: 32 3/4 x 22 1/2 inches
Edition of 350 impressions
Signed, numbered and dated in pen by Cindy Sherman on verso
© 2003 Cindy Sherman
Museum quality, in archival black wood frame with white mat & UV plexiglass
Selected Museum Collections
Williams College Museum of Art, Williamstown, MA
Phyllis Tuchman Collection, (TL.2007.74.38)
Museum of Fine Arts, St. Petersburg, FL
Cindy Sherman’s Woman in Sun Dress is part of a series Sherman created between 2000 and 2003 that Sherman calls Hollywood/Hampton Types, which depict a range of Women from Suburban American life.
To create this fabulous almost 3 foot limited edition, Cindy Sherman returned to creating works that featured a stylized version of Cindy Sherman herself after a decade absence of working with dolls and other props; in effect Sherman created fine art photography using dolls and props as a substitute for Sherman's iconic image.
Moving away from her earlier references to cinema and art history, Sherman's Woman In Sundress, 2003, image is largely influenced by traditional portraiture. Cindy Sherman uses a simple composition to create Woman In Sundress, 2003, set against a uniform, single-color background, reminiscent of a yearbook photo.
The make-up is exaggerated so it is slightly grotesque, Cindy Sherman's costume choice is ostentatious; her exaggerated expression falls into the realm of caricature. In Woman in Sun Dress, Sherman’s decision to use garish make up along with her severe tan lines are reminiscent of so many women who spend too much time in the Florida sunshine.
By turning the camera on herself, Cindy Sherman embodies characters who are, in her words:
“would-be or has-been actors, in reality secretaries, housewives or gardeners, posing for headshots to get an acting job”- Cindy Sherman, quoted in 'No Make-Up. An Interview with Cindy Sherman, by Isabelle Graw,' Cindy Sherman: Clowns, Munich, 2012, page 58.In Woman in Sun Dress, 2003, Sherman takes aim at popular notions of femininity, celebrity, and Hollywood stereotypes, a subject she infamously explored in her acclaimed series of Film Stills.
A fabulous well priced Cindy Sherman limited edition that has the impact of larger Cindy Sherman works without a six figure price! Framed this is a fantastic Sherman everyone will notice as it is 32 3/4 inches high and 22 1/2 inches wide, so in other words almost 3 feet high and 2 feet wide.
This is a GUARANTEED Authentic Signed Numbered & Dated Limited Edition Cindy Sherman Photograph in Pristine Condition.
Cindy Sherman at Cycladic: Early Works at The Museum of Cycladic Art, Athens, May 30-November 4, 2024
The Museum of Cycladic Art in Athens is currently exhibiting Cindy Sherman at Cycladic: Early Works, Sherman's first solo museum exhibition in Greece, from May 30, 2024-November 4, 2024. This major exhibition brings together more than 100 works, offering a comprehensive view into Cindy Sherman’s ground-breaking and influential early series exploring how women are imaged in popular culture, including Untitled Film Stills (1977-1980), Rear Screen Projections (1980), Centerfolds (1981) and Color Studies (1981-1982). Rolex is the exhibition’s main sponsor.
On display is the entirety of Cindy Sherman’s Untitled Film Stills (1977-1980) series. Consisting of 70 black-and-white photographs, Untitled Film Stills began after Sherman moved to New York City in 1977, aged 23. Inspired by 1950s and 1960s Hollywood, film noir, B movies and European art-house films, Sherman created images suggestive of the production stills used by movie studios to publicize their films. The images, reminiscent of certain character types and genres, initiated conversations about gender roles, feminism and representation, remaining always intentionally ambiguous and open to interpretations.
In 1980, Sherman turned to color photography to create Rear Screen Projections. Incorporating a technique often used by Alfred Hitchcock, she posed in her studio in front of a large screen, onto which images of various sites were projected. In this way, she gained more control over the final image while extending her dialogue with cinema. The resulting images, in which she continues assuming the role of the model, blur the lines of reality and artifice.
The presence of Sherman’s works under the same roof as the Museum’s renowned collection of Cycladic art, one of the most complete private collections in the world, creates a link with the famous marble female figurines of the 3rd millennium BC, which dominate Cycladic art and have influenced the work of many 20th and 21st century artists. According to most scholars, these figurines represent the great mother-goddess of fertility and rebirth, the goddess who, over the years, changed her form as women did, assuming different and multiple roles. Roles that have been differentiated and redefined and contested; roles that have led to conflicts but which have always remained fundamental to the place of women, from antiquity to the present day.
Cindy Sherman at Cycladic: Early Works reveals and deconstructs women’s roles and stereotypes, questioning how the representation of women has evolved over time, how societal expectations have changed and been contested, and how art can shape and challenge cultural perceptions.
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