辛蒂·雪曼 | 《無題，電影劇照#57》

莫妮卡·斯普魯特畫廊，科隆
格洛麗亞·馮·圖爾恩塔克西斯王公夫人，德國
富藝斯，紐約，「馮·圖爾恩塔克西斯王公夫人珍藏拍賣」，2005年11月7日，拍品編號12（經由上述藏家委託）
私人收藏，紐約（購自上述拍賣）
現藏家2012年購自上述收藏

東京，原宿Laforet博物館，〈辛蒂·雪曼〉，1984年4月-5月，頁碼不詳（內文，版本編號不詳）

米蘭，米蘭當代藝術展館，〈辛蒂·雪曼〉，1990年10月-11月，頁碼不詳（內文，版本編號不詳，較小版本）

華盛頓，哥倫比亞特區，赫希洪博物館及雕塑花園，〈辛蒂·雪曼導演：電影劇照〉，1995年3月-6月，頁碼不詳（內文），封底載圖（版本編號不詳）

紐約，現代藝術博物館，〈辛蒂·雪曼：電影劇照全集〉，1997年6月-9月，89頁，載圖（版本編號不詳）

洛杉磯，當代藝術博物館；芝加哥，當代藝術博物館；布拉格，魯道夫宮美術館；倫敦，巴比肯藝術中心；波爾多，CAPC波爾多當代藝術博物館；悉尼，當代藝術博物館；多倫多，安大略美術館，〈辛蒂·雪曼回顧展〉，1997年11月-2000年1月，90頁，品號59，載圖（版本編號不詳）

巴黎，國立網球場現代美術館；布雷根茨，布雷根茨美術館；胡姆勒拜客，路易斯安那現代藝術博物館；柏林，馬丁·葛羅比烏斯美術館，〈辛蒂·雪曼〉，2006年5月-2007年9月，頁碼不詳，載圖（版本編號不詳，較小版本）

紐約，現代藝術博物館；三藩市，三藩市現代藝術博物館；明尼阿波利斯，沃克藝術中心；達拉斯，達拉斯藝術博物館，〈辛蒂·雪曼〉，2012年2月-2013年6月，121頁，品號81，載圖（版本編號不詳）

展覽圖錄，阿姆斯特丹，市立博物館，《辛蒂·雪曼》，1982年12月，頁碼不詳，品號36，載圖

彼得·史耶道爾及I·邁克爾·達諾夫，《辛蒂·雪曼》，紐約，1984年，頁碼不詳，品號36（版本編號不詳）

展覽圖錄，紐約，惠特尼美國藝術博物館，《辛蒂·雪曼》，1987年7月-10月，頁碼不詳，品號36，載圖（版本編號不詳）

羅莎琳德·克勞斯及諾曼·布賴森（編），《辛蒂·雪曼1975-1993年》，紐約，1993年，頁碼不詳，品號43，載圖（版本編號不詳）

大衛·法蘭克爾，《辛蒂·雪曼：無題電影劇照全集》，紐約，2003年，89頁，載圖（版本編號不詳）

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"The photograph of the dark-haired 'city girl' in Untitled Film Still #57 was taken at a huge planter at the World Trade Center in lower Manhatten, which became the site of several other stills on the same shoot, its specificity skillfully disguised." 

Phyllis Rosenzweig in : Exh. Cat., Washington D.C., Hirshhorn Museum and Sculpture Garden, Directions Cindy Sherman: Film Stills, 1995, n.p.

In the Autumn of 1977, a 23 year-old Cindy Sherman started producing images that would become one of the most ground-breaking and iconic photographic series of the post-modern era: the Untitled Film Stills. In this visually and conceptually arresting body of 70 works, Sherman posed as fictitious movie characters inspired by stereotypical female roles familiar to 1950s and ‘60s movies. In doing this, Sherman importantly exposed ingrained gendered stereotypes and the culturally accepted subjugatory role of women. In each photograph Sherman appears in a different guise, ranging from the ingénue, the sex kitten, the hardened film-noir heroine to the sophisticate, the lonely housewife, or the city girl. In the present example, Sherman embodies coquettish innocence as she sits demurely in a meadow; however, in typical fashion, the image teems with suspense, as the viewer takes on the role of a predatory observer. With a full suite of Untitled Film Stills housed in The Museum of Modern Art and having been fully canonised by a slew of art historians since their conception, this groundbreaking body of work today stands as one of the most significant made in the Twentieth Century.

Conceived over a period of three years, this encyclopaedic series would come to define Sherman’s idiosyncratic artistic vocabulary and catalyse her career as one of the leading artists of the influential Pictures Generation. Similar to fellow Pictures artists Richard Prince (who was her boyfriend around that time) and Robert Longo (whom she met at college), Sherman was deeply influenced by commercial image culture and the diffusion of stereotypes via popular imagery. While Prince focused on re-photographing iconic images taken from the advertising world and Longo aimed to recreate a particular sense of motion and energy in his drawings, Sherman cast herself as the star in her own cinematic mise-en-scène.  

Created in the classic format, scale, and quality that would mimic the often staged ‘stills’ used to promote films, Sherman conceived the first six pictures as a group in which she impersonated a single actress in various roles. This experiment soon expanded into a detailed survey of various different characters and scenes, all loosely inspired by film imagery. Rather than assuming overdramatic poses, however, Sherman aimed to create conceptually demanding images that would stir the viewer’s imagination and fantasies. As the artist has explained: “What I didn’t want were pictures showing strong emotions, which was rare to see; in film stills there’s a lot of overacting because they’re trying to sell the movie” (Cindy Sherman cited in: David Frankel, Ed., Cindy Sherman: The Complete Untitled Film Stills, New York 2003, p. 8). As perfectly illustrated in the present work, the scene is seemingly peaceful and yet it is filled with tension. Sherman is not looking directly into the camera, her face is only partly visible. The camera is positioned in such a way that it locates the viewer voyeuristically outside of the presented scene, but in such a way that the viewer’s ominous presence is perceived by the still’s apparently vulnerable leading lady. Negating our gaze while opening up a radical, thrilling complicity, the present work situates the viewer as both voyeur and protagonist – the work’s simultaneous consumer and subject.

Acting as a cultural mirror to the idealisation and fetishizing of stereotypical female roles in society – roles taken for granted for the best part of the Twentieth Century – these works occupy an ambiguous terrain between appropriation and imagination, fiction and reality. By employing the same seductive mechanisms as the film industry, Sherman positions the viewer as both critical observer and complicit actor in her beautifully open-ended fragmentary cinematic dramas.