• Front cover of the 1983 Cindy Sherman exhibition catalogue from the Musée d’Art et d’Industrie, Saint-Étienne: cream card with a colour photograph of Sherman in a long black coat, a tangle of white-blonde hair covering her face. Title in grey capitals below.
  • Open spread from the 1983 Saint-Étienne Cindy Sherman catalogue: a black-and-white Untitled Film Still (1980) of a platinum-haired woman with a wary sideways look on the left, and the opening of the French essay “Cindy, ‘La’ Sherman” on the right.
  • Open spread from the 1983 Saint-Étienne Cindy Sherman catalogue: two colour plates captioned Untitled, 1982–83. On the left, a woman in a strapless top glances back over her shoulder against a dark red ground. On the right, a woman grins from a pale blue wooden chair, one knee raised.
  • Plain cream back cover of the 1983 Cindy Sherman exhibition catalogue, Musée d’Art et d’Industrie, Saint-Étienne.
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Cindy Sherman Cindy Sherman, Musée d'Art et d'Industrie, Saint-Étienne, 1983

£75
£75
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Artist
Cindy Sherman
Publisher
Musée d'Art et d'Industrie, Saint-Étienne
Place & year
Saint-Étienne, 1983
Type
Exhibition Catalogue
Format
Softcover, staple-bound, 32 pp.; colour and black-and-white illustrations; text in French
Size
21 × 23 cm
With
Essay by Christian Caujolle
Condition
Fair. Cream card wrappers toned, with scattered small spots and handling marks, heavier towards the edges. Interior clean in the spreads examined; binding sound.Full condition report on request

Notes

Published by the Musée d'Art et d'Industrie, Saint-Étienne, for the Cindy Sherman exhibition held there from December 1983 to January 1984. Staple-bound in cream card wrappers, with an essay in French by Christian Caujolle, a biography and an exhibition history.

The cover reproduces Untitled #122 (1983): a figure in a long black coat, blonde hair over the face, fists clenched. It comes from the fashion pictures Sherman began that year from an advertising commission for the New York boutique Dianne B., run in Interview. Inside, black-and-white Untitled Film Stills sit alongside colour pictures of 1982–83, one to a page.

Caujolle, then head of photography at Libération, titles his essay "Cindy, « La » Sherman". He lists the roles she takes in turn, soubrette, starlet, bourgeoise, society woman, and holds that the pictures are not self-portraits, even though she remains their only model.

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