Cynthia "Cindy" Morris Sherman (born January 19, 1954) is an American photographer and film director, best known for her conceptual portraits. In 1995, she was the recipient of a MacArthur Fellowship. Through a number of different series of works, Sherman has sought to raise challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art. Her photographs include some of the most expensive photographs ever sold. Sherman lives and works in New York.
Cindy Sherman was born on January 19, 1954 in Glen Ridge, New Jersey as the youngest by far of five children.[1][2][3] Shortly after her birth, her family moved to the township of Huntington, Long Island.
Sherman became interested in the visual arts at Buffalo State College, where she began painting. Frustrated with what she saw as the medium's limitations, she abandoned the form and took up photography. "[T]here was nothing more to say [through painting]," she later recalled. "I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead." Sherman has said about this time: "One of the reasons I started photographing myself was that supposedly in the Spring one of my teachers would take the class out to a place near Buffalo where there were waterfalls and everybody romps around without clothes on and takes pictures of each other. I thought, ‘Oh, I don’t want to do this. But if we’re going to have to go to the woods I better deal with it early.’ Luckily we never had to do that."[4] She spent the rest of her time at college focused on photography. Though Sherman had failed a required photography class as a freshman, she repeated the course with Barbara Jo Revelle, whom she credits with introducing her to conceptual art and other contemporary forms.[5] While in college she met Robert Longo, who encouraged her to record her process of "dolling up" for parties, and together with Charles Clough, created Hallwalls, an arts center. Buffalo in the late 1970s was a model laboratory for artists interested in dismantling boundaries between media. Besides Hallwalls and the wealth of classes and programs in the arts supplied by the two Buffalo campuses of the SUNY school system, Sherman was exposed to the contemporary art exhibited at the Albright-Knox Art Gallery, Media Studies Buffalo, the Center for Exploratory and Perceptual Arts, and Artpark, in nearby Lewiston, N.Y., where she was privy to the fluid exchange of influences among the artists, curators and programmers working at all these venues and in all the exhibited media.[6] It is in Buffalo that Sherman encountered another important source of inspiration during that time in seeing photo-based Conceptual works by artists like Hannah Wilke, Eleanor Antin, and Adrian Piper.[7]
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Works (selection, external)
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Sherman works in series, typically photographing herself in a range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress—and, of course, model.[8]
Bus Riders (1976/2000) are a series of photographs that feature the artist as a variety of meticulously observed characters. The photographs were shot in 1976 but, like another series entitled Murder Mystery People, not printed or exhibited until 2000 and are among the artist's earliest work. Sherman uses elaborate costumes and make-up to transform her identity for each image, but is photographed in a sparse, obviously staged setting with a wooden chair standing in for the bus seat. In her landmark 69 photograph series, the Complete Untitled Film Stills, (1977–1980; although the 1997 traveling MOCA retrospective included five straight-on head shots dated 1975) Sherman appeared as B-movie, foreign film and film noir style actresses. When asked if she considers herself to be acting in her photographs, Sherman said, “I never thought I was acting. When I became involved with close-ups I needed more information in the expression. I couldn’t depend on background or atmosphere. I wanted the story to come from the face. Somehow the acting just happened.”[4]
Although Sherman does not consider her work feminist[citation needed], many of her photo-series, like the 1981 Centerfolds, call attention to the stereotyping of women in films, television and magazines. When talking about one of her centerfold pictures Cindy stated, "In content I wanted a man opening up the magazine suddenly look at it with an expectation of something lascivious and then feel like the violator that they would be. Looking at this woman who is perhaps a victim. I didn't think of them as victims at the time... But I suppose... Obviously I'm trying to make someone feel bad for having a certain expectation."[9]
In her work, Sherman is both revealed and hidden, named and nameless.[editorializing] She explained to the New York Times in 1990, "I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear."[10] She describes her process as intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants. She has said of her process, "I think of becoming a different person. I look into a mirror next to the camera…it’s trance-like. By staring into it I try to become that character through the lens...When I see what I want, my intuition takes over—both in the 'acting' and in the editing. Seeing that other person that’s up there, that’s what I want. It’s like magic.”[4]
[edit] The Untitled Film Stills
The series Untitled Film Stills, 1977–1980, with which Cindy Sherman achieved international recognition, consists of 69 black-and-white photographs. The artist poses in different roles and settings (streets, yards, pools, beaches, and interiors)[11], producing a result reminiscent of stills typical of Italian neorealism or American film noir of the 1940s, 1950s and 1960s.[12] She avoided putting titles on the images to preserve their ambiguity.[13] Modest in scale compared to Sherman’s later cibachrome photographs, they are all 8 1/2 by 11 inches, each displayed in identical, simple black frames.[14] Sherman used her own possessions as props, or sometimes borrowed, as in Untitled Film Still #11 in which the doggy pillow belongs to a friend. The shots were also largely taken in her own apartment. The Untitled Film Stills fall into several distinct groups:
- The first six are grainy and slightly out of focus (e.g. Untitled #4), and each of the 'roles' appears to be played by the same blonde actress.
- The next group was taken in 1978 at Robert Longo's family beach house on the north fork of Long Island. (Sherman met Longo during her sophomore year, and they were a couple until late 1979)
- Later in 1978, Sherman began taking shots in outdoor locations around the city. E.g. Untitled Film Still #21
- Sherman later returned to her apartment, preferring to work from home. She created her version of a Sophia Loren character from the movie Two Women. (E.g. Untitled Film Still #35 (1979))[6]
- She took several photographs in the series while preparing for a trip to Arizona with her parents. Untitled Film Still #48 (1979), also known as The Hitchhiker, was shot at sunset one evening during the trip.
- The remainder of the series was shot around New York, like Untitled #54, often featuring a blonde victim typical of film noir.
In December 1995, the Museum of Modern Art, New York, acquired all sixty-nine black-and-white photographs in Sherman's Untitled Film Stills series[15] for an estimated $1 million.[16]
In addition to her film stills, Sherman has appropriated a number of other visual forms— the centerfold, fashion photograph, historical portrait, and soft-core sex image. These and other series, like the 1980s "Fairy Tales and Disasters" sequence, were shown for the first time at the Metro Pictures Gallery in New York City.
During the 1980s Sherman began to use colour film, to exhibit very large prints, and to concentrate more on lighting and facial expression. It was with her series Rear Screen Projections, 1980, that Sherman switched from black-and-white to color and to clearly larger formats. Centerfolds/Horizontals, 1981, are inspired by the center spreads in fashion and pornographic magazines. The twelve photographs were initially commissioned—but not used by -- Artforum's Editor in Chief Ingrid Sischy for an artist's section in the magazine. Close-cropped and close up, they portray young women in various roles, from a sultry seductress to a frightened, vulnerable victim who might have just been raped.[17] About her aims with the self-portraits, Sherman has said: "Some of them I’d hope would seem very psychological. While I’m working I might feel as tormented as the person I’m portraying.”[4] In Fairy Tales, 1985, and Disasters, 1986–1989, Cindy Sherman uses visible prostheses and mannequins for the first time.[12] In response to the 1989 NEA funding controversy involving photographs by Robert Mapplethorpe and Andres Serrano at the Corcoran Gallery of Art, Sherman produced the Sex series in 1989. These photographs featured pieced-together medical dummies in flagrante delicto.
Between 1989 and 1990, Sherman made thirty-five much larger color photographs restaging the settings of various European portrait paintings of the fifteenth through early 19th centuries. Under the title History Portraits Sherman photographed herself in costumes flanked with props and prosthetics portraying famous artistic figures of the past, like Raphael’s La Fornarina, Caravaggio’s Sick Bacchus and Judith Beheading Holofernes, or Jean Fouquet’s Madonna of Melun.[18] Between 2003 and 2004, she produced the Clowns cycle, where the use of digital photography enabled her to create chromatically garish backdrops and montages of numerous characters. Set against opulent backdrops and presented in ornate frames, the characters in Sherman’s 2008 untitled Society Portraits are not based on specific women, but the artist has made them look entirely familiar in their struggle with the standards of beauty that prevail in a youth- and status-obsessed culture. Her MoMA exhibition in 2012 also premiered a created photographic mural (2010–11) that represents the artist's first foray into transforming space through site-specific fictive environments. In the mural, Sherman transforms her face digitally, exaggerating her features through Photoshop by elongating her nose, narrowing her eyes, or creating smaller lips.[19] Based on an insert Sherman did for Dasha Zhukova's Garage magazine using vintage clothes from Chanel’s archive, a more recent series of large-scale pictures from 2012 depict outsized enigmatic female figures standing in striking isolation before ominous painterly landscapes the artist had photographed in Iceland during the 2010 eruptions of Eyjafjallajökull and on the isle of Capri.[20]
Sherman’s career has also included several fashion series in 1983 and 1993. In 1983, fashion designer and retailer Dianne Benson commissioned Sherman to create a series of advertisements for her store, Dianne B., that appeared in several issues of Interview magazine.[21] In the same year the French fashion house Dorothée Bis offered their own clothes for a series to appear in French Vogue. The images Sherman created for these two ‘fashion shoots’ are the antithesis of the glamorous world of fashion. The model in the photographs appears silly, angry, dejected, exhausted, abused, scarred, grimy and psychologically disturbed.[22] Sherman also created photographs for an editorial in Harper's Bazaar in 1993.[23] In 1994, she produced the Post Card Series for Comme des Garçons for the brand's autumn/winter 1994–95 collections in collaboration with Rei Kawakubo. In 2006, she created a series of fashion advertisements for designer Marc Jacobs. The advertisements themselves were photographed by Juergen Teller and released as a monograph by Rizzoli. For Balenciaga, Sherman created the six-image series Cindy Sherman: Untitled (Balenciaga) in 2008; they were first shown to the public in 2010.[24] Also in 2010, Sherman started designing jewelry.[25] In 2011, cosmetic giant M.A.C. picked Sherman as the face of their fall line. In the three images of the campaign, Sherman uses the line to completely alter her look appearing as a garish heiress, a doll-like ingénue and a full-on clown.[26]
In the early 1990s, Sherman worked with Minneapolis band Babes in Toyland, photographing covers for the albums Fontanelle and Painkillers, creating a stage backdrop used in live concerts, and acting in the promotional video for the song "Bruise Violet." Sherman has also worked as a film director; her first film was Office Killer in 1997, starring Jeanne Tripplehorn, Molly Ringwald and Carol Kane. She played a cameo role in John Waters' film, Pecker. She also played a role in The Feature in 2008, starring ex-husband Michel Auder, which won a New Vision Award.
Cindy Sherman's first solo show in New York was presented at a noncommercial space called the Kitchen in 1980. When the Metro Pictures opened later that year, Sherman's photographs were the first show.[27]
Sherman has since participated in many international events, including SITE Santa Fe (2004); the Venice Biennale (1982, 1995); and five Whitney Biennials. In addition to numerous group exhibitions, Sherman's work was the subject of solo exhibitions at the Stedelijk Museum in Amsterdam (1982), Whitney Museum of American Art in New York (1987), Kunsthalle Basel (1991), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1995), the San Francisco Museum of Modern Art (1998), the Serpentine Gallery in London and the Scottish National Gallery of Modern Art (2003), and Martin-Gropius-Bau in Berlin (2006), among others. Major traveling retrospectives of Sherman’s work have been organized by the Museum Boymans-van Beuningen in Rotterdam (1996); the Museum of Contemporary Art in Los Angeles and the Museum of Modern Art in New York (1997); and Kunsthaus Bregenz, Austria, Louisiana Museum for Moderne Kunst, Denmark, and Jeu de Paume in Paris (2006–2007). In 2009, Sherman was included in the seminal show "The Pictures Generation, 1974–1984" at the Metropolitan Museum of Art.[28]
In 2012, the Museum of Modern Art mounted “Cindy Sherman,” a show that chronicled Sherman's work from the mid-1970s on and include more than 170 photographs. The exhibition will travel to the San Francisco Museum of Modern Art and the Walker Art Center in Minneapolis.[29]
Works by Sherman are held in, among others, the Tate Gallery, London; the Corcoran Gallery, Washington, D.C.; the Museum of Modern Art, Metropolitan Museum of Art and the Whitney Museum of American Art, New York; the Madison Museum of Contemporary Art[30]; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles.
In 1995, Sherman was the recipient of one of the prestigious MacArthur Fellowships, popularly known as the "Genius Awards." This fellowship grants $500,000 over five years, no strings attached, to important scholars in a wide range of fields, to encourage their future creative work. Among her awards are the Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts (2005); American Academy of Arts and Sciences Award (2003); National Arts Award (2001); Jewish Museum’s Man Ray Award (2009).[31] In 1981, Sherman was artist-in-residence at the non-profit Light Work in Syracuse, New York.[32]
Sherman’s early photos come in editions of ten. Among the Film Stills, which come in three sizes, Untitled #13 (1978)[33], Untitled #21 (1978)[34], and Untitled #48 (1979)[35] are regarded the most sought after.[36] In 1981, when Metro Pictures first exhibited 12 Centerfolds (only 12 prints in editions of 10 were produced), each was priced at $1,000; prices have since developed rapidly. Starting with the Fairy Tales, Sherman began printing her color works in editions of six, with few exceptions.[37]
Sherman’s annual auction revenue between 2000 and 2006 had remained mostly in the range of $1.5 million to $2.8 million and then jumped in 2007 to $8.9 million.[38] In 2010, Sherman’s nearly six foot tall chromogenic color print Untitled #153 (1985), featuring the artist as a mudcaked corpse, was sold by Phillips de Pury & Company for a record $2.7 million, near the $3 million high estimate.[39] In 2011, a print of Untitled #96, which depicts Sherman as a lovelorn woman clutching a personal ad while lying on a kitchen floor, fetched $3.89 million dollars at Christie's, making it the most expensive photograph at that time. It was a part of an edition of 10 from 1981.[40]
Sherman has stayed with her original dealers Metro Pictures, the New York gallery that presented her first solo show in 1979, and Sprüth Magers, which has represented her in Europe since 1984.[41] In addition, she sometimes has shown work with Gagosian Gallery in Los Angeles, Rome, and Paris.[42]
Sherman married director Michel Auder in 1984, making her step-mother to Auder's daughter, Alexandra. They divorced in 1999.[43]
Sherman and musician David Byrne started dating in 2007.[44]
Sherman has been referenced by the electroclash artists Chicks on Speed in the track "Spoken by Stephanie from Marseille, Yes I Do" from the 2000 K Records album The Re-Releases of the Un-Releases. The song refers to Sherman through the lyrics, "...got more faces than Cindy Sherman." Sherman was also the topic of the song "Cindy of a Thousand Lives", from Billy Bragg's 1991 album Don't Try This at Home.
The Cherry Poppin' Daddies' song "Grand Mal" contains a reference to Sherman's work in the description of the narrator's love interest: "She takes Cindy Sherman pictures/And she cuts herself."
She's also the subject of The Shermans' song, "Cindy Sherman".
Singer Róisín Murphy has said that the music video for her song You Know Me Better is inspired by Sherman, as well as to having been influenced by her visual style throughout her career.
Sherman was referenced in The Other Guys.
Welsh singer-songwriter Marina and the Diamonds refers to her upcoming album, Electra Heart, as an "ode to Cindy" in her YouTube video entitled "♡ PART 3: 'THE ARCHETYPES' ♡.[45]
- Johanna Burton (ed.), ed. (2006). Cindy Sherman. The MIT Press. ISBN 0-262-52463-5.
- (2007) Cindy Sherman: A Play of Selves.Hatje Cantz. ISBN 978-3-7757-1942-1.
- (2006) Cindy Sherman: Working Girl.Contemporary Art Museum, St. Louis. ISBN 978-0-9712195-8-8.
- (2004) Cindy Sherman: Centerfolds. Skarstedt Fine Art. ISBN 0-9709090-2-0.
- (2003) Cindy Sherman: The Complete Untitled Film Stills. Museum of Modern Art. ISBN 0-87070-507-5.
- (2002) Elisabeth Bronfen, et al. Cindy Sherman: Photographic Works 1975-1995 (Paperback). Schirmer/Mosel. ISBN 3-88814-809-X.
- (2001) Early Work of Cindy Sherman. Glenn Horowitz Bookseller. ISBN 0-9654020-3-7.
- (2000) Leslie Sills, et al. In Real Life: Six Women Photographers. Holiday House. ISBN 0-8234-1498-1.
- (2000) Amanda Cruz, et al. Cindy Sherman: Retrospective (Paperback). Thames & Hudson, ISBN 0-500-27987-X.
- (1999) Essential, The: Cindy Sherman. Harry N. Abrams, Inc., ISBN 0-8109-5808-2.
- (1999) Shelley Rice (ed.) Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman. MIT Press. ISBN 0-262-68106-4.
- Cindy Sherman [videorecording] : Transformations. by Paul Tschinkel; Marc H Miller; Sarah Berry; Stan Harrison; Cindy Sherman; Helen Winer; Peter Schjeldahl; Inner-Tube Video. 2002, 28 minutes, Color. NY: Inner-Tube Video.
- In 2009, Paul Hasegawa-Overacker and Tom Donahue completed a feature documentary, Guest of Cindy Sherman, about the former's relationship with Sherman. She was initially supportive, but later opposed the project.[46]
- "I think people are more apt to believe photographs, especially if it’s something fantastic. They’re willing to be more gullible. Sometimes they want fantasy. Even if they know it’s fake they can believe anything. People are accustomed to being told what to believe in." [47]
- "While I'm working I might feel as tormented as the person I'm portraying." [48]
- "I can’t work without it. And it has to be the right kind, because if it’s not then I get into a bad mood. I work with a remote so that I can change CDs instantly if I need to. (Sherman talking about her need to have music on while working)"
- "I didn't want to make 'high' art, I had no interest in using paint, I wanted to find something that anyone could relate to without knowing about contemporary art. I wasn't thinking in terms of precious prints or archival quality; I didn't want the work to seem like a commodity."
- "I was supporting myself, but nothing like the guy painters, as I refer to them. I always resented that actually.. we were all getting the same amount of press, but they were going gangbusters with sales."
- "When I do work, I get so much done in such a concentrated time that once I’m through a series, I’m so drained I don’t want to get near the camera."
- "I was feeling guilty in the beginning; it was frustrating to be successful when a lot of my friends weren’t. Also, I was constantly being reminded of that by people in my family making jokes."
- "If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already.. the challenge is more about trying to make what you can’t think of."
- "The work is what it is and hopefully it’s seen as feminist work, or feminist-advised work, but I’m not going to go around espousing theoretical bullshit about feminist stuff."
- Michael Kelly, "Danto and Krauss on Cindy Sherman", In: M. A. Holly & K. Moxey (eds.), Art history, Aesthetics, Visual studies. Massachusetts: Clark Art Institute, 2002.
- ^ Cindy Sherman, Encyclopædia Britannica.
- ^ Genocchio, Benjamin. "ART REVIEW; Portraits of the Artist as an Actor", The New York Times, April 4, 2004. Accessed May 21, 2012. "Ms. Sherman was born in Glen Ridge; when she was 3, her family moved to Huntington Beach on Long Island."
- ^ Simon Hattenstone (15 January 2011), Sherman: Me, myself and I The Guardian.
- ^ a b c d Sussler, Betsy http://bombsite.com/issues/12/articles/638 “Cindy Sherman” in BOMB Magazine Spring 1985, Retrieved August 10, 2011
- ^ Belasco, Daniel (2005-4-1), "Review of The Unseen Cindy Sherman: Early Transformations", Art in America
- ^ a b G. Roger Denson (March 5, 2012), Cindy Sherman as Orson Welles... as John Ford... as Vittorio De Sica... as Alfred Hitchcock... Huffington Post.
- ^ Roberta Smith (February 23, 2012), Photography’s Angel Provocateur - ‘Cindy Sherman’ at Museum of Modern Art New York Times.
- ^ Cindy Sherman, 15 November - 23 December 2008 Metro Pictures.
- ^ http://www.youtube.com/watch?v=Xsow0QaKJAM
- ^ New York Times, 1 February 1990, "A Portraitist's Romp Through Art History."
- ^ Lance Esplund (February 27, 2012), Cindy Sherman Self-Portraits Offer Empty Entertainment: Review Bloomberg.
- ^ a b Cindy Sherman, December 2, 2006 - January 28, 2007 Kunsthaus Bregenz.
- ^ Victoria Olsen (March 2009), Cindy Sherman: Monument Valley Girl Smithsonian Magazine.
- ^ Helen Molesworth, Cindy Sherman's Untitled Film Stills twenty years later Frieze Magazine, Issue 36, September–October 1997.
- ^ Cindy Sherman: The Complete Untitled Film Stills, June 26 - September 2, 1997 MoMA.
- ^ Barry Schwabsky (April 18, 1999), A Photographer's Many Faces New York Times.
- ^ Grace Glueck (May 23, 2003), Cindy Sherman -- 'Centerfolds, 1981' New York Times.
- ^ Cindy Sherman: History Portraits, November 8 - December 20, 2008 Skarstedt Gallery, New York.
- ^ SFMOMA Presents Cindy Sherman, April 11, 2012 San Francisco Museum of Modern Art, San Francisco.
- ^ Cindy Sherman, April 28 – June 9, 2012 Metro Pictures Gallery, New York.
- ^ Cindy Sherman, Untitled #122 (1983) Phillips de Pury & Company, New York.
- ^ Cindy Sherman, Untitled #126 (1983) Tate Collection.
- ^ Bridging the Art/Commerce Divide: Cindy Sherman and Rei Kawakubo of Comme des Garçons NYU Grey Art Gallery, New York.
- ^ Caroline Palmer (August 27, 2010),[Balenciaga Boasts Cindy Sherman and Karen Elson http://www.vogue.com/vogue-daily/article/fno-highlight-of-the-day-balenciaga-boasts-cindy-sherman-and-karen-elson/] Vogue.com.
- ^ Sarah Taylor (December 2010), Masters’ Piece - Cindy Sherman and Anna Hu get to work W Magazine.
- ^ Kira Cochrane (31 July 2011), Cindy Sherman models for MAC, the makeup company of outsiders The Guardian.
- ^ Andy Grundberg (July 5, 1987), The 80s Seen Through A Postmodern Lens New York Times.
- ^ The Pictures Generation, 1974–1984; April 21 – August 2, 2009 Metropolitan Museum of Art.
- ^ Carol Vogel (February 17, 2011), Cindy Sherman’s Guises All in a Single Place New York Times.
- ^ http://www.mmoca.org/mmocacollects/artist_page.php?id=26
- ^ Cindy Sherman to Receive the Jewish Museum's Man Ray Award ARTINFO, November 12, 2009.
- ^ Past Artists-in-Residence Light Work, Syracuse, NY.
- ^ Cindy Sherman, Untitled #13 (1978) Christie's First Open Post-War and Contemporary Art, New York, 9 September 2008.
- ^ Cindy Sherman, Untitled #21 (1978) Museum of Modern Art, New York.
- ^ Cindy Sherman: Untitled #48 (1979) Tate, London.
- ^ Sarah P. Hanson (February 21, 2012), Artist Dossier: Cindy Sherman ARTINFO.
- ^ Sarah P. Hanson (February 21, 2012), Artist Dossier: Cindy Sherman ARTINFO.
- ^ Katya Kazakina (February 23, 2012), Cindy Sherman Market Hits $13.7 Million Thanks to Sender, MoMA Bloomberg.
- ^ Lindsay Pollock (November 9, 2010), Warhol's $63 Million Portrait of Elizabeth Taylor Stuns Dealers at Auction Bloomberg.
- ^ Judd Tully (May 12, 2011), [1] ARTINFO.
- ^ Sarah Thornton (February 25, 2012), Cindy Sherman at MoMA: Mistress of self-effacement The Economist.
- ^ Sarah P. Hanson (February 21, 2012), Artist Dossier: Cindy Sherman ARTINFO.
- ^ "Biography for Cindy Sherman". http://www.imdb.com/name/nm0792398/bio. Retrieved 2010-05-01.
- ^ George Rush (2009-02-22). "Ex-'Head' David Byrne talks about working with Brian Eno". Daily News. http://www.nydailynews.com/entertainment/music/2009/02/22/2009-02-22_exhead_david_byrne_talks_about_working_w.html. Retrieved 2009-04-03.
- ^ [2]
- ^ Cindy Sherman's response retrieved June 24, 2008
- ^ Interview, "Cindy Sherman", BOMB Magazine, Spring 1985
- ^ Interview, "Cindy Sherman", BOMB Magazine, Spring 1985
| Persondata |
| Name |
Sherman, Cindy |
| Alternative names |
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| Short description |
Photographer |
| Date of birth |
January 19, 1954 |
| Place of birth |
Glen Ridge, New Jersey |
| Date of death |
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| Place of death |
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