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Cindy Sherman: The Complete Untitled Film Stills (2003 HC) 1st Printing
US $129.95
ApproximatelyS$ 165.80
or Best Offer
Condition:
“First edition, First printing. Like new, pages tight, unread. No marks or writing. Dust jacket has ”... Read moreabout condition
Very Good
A book that has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear.
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Shipping:
US $6.99 (approx S$ 8.92) USPS Media MailTM.
Located in: Iowa City, Iowa, United States
Delivery:
Estimated between Thu, 3 Jul and Thu, 10 Jul
Returns:
30 days return. Seller pays for return shipping.
Coverage:
Read item description or contact seller for details. See all detailsSee all details on coverage
(Not eligible for eBay purchase protection programmes)
Seller assumes all responsibility for this listing.
eBay item number:156733412821
Item specifics
- Condition
- Very Good
- Seller Notes
- Signed
- No
- Ex Libris
- No
- Narrative Type
- Nonfiction
- Original Language
- English
- Intended Audience
- Adults
- Inscribed
- No
- Edition
- First Edition
- Vintage
- No
- Personalize
- No
- Type
- Photography
- Literary Movement
- Modernism
- Personalized
- No
- Features
- Dust Jacket, Illustrated, Protective Mylar Cover
- Country/Region of Manufacture
- Italy
- ISBN
- 9780870705076
About this product
Product Identifiers
Publisher
Museum of Modern Art
ISBN-10
0870705075
ISBN-13
9780870705076
eBay Product ID (ePID)
5974911
Product Key Features
Book Title
Cindy Sherman : the Complete Untitled Film Stills
Number of Pages
164 Pages
Language
English
Publication Year
2003
Topic
Individual Photographers / General, Museums, Tours, Points of Interest, Collections, Catalogs, Exhibitions / General, General
Illustrator
Yes
Genre
Travel, Photography
Format
Hardcover
Dimensions
Item Height
0.8 in
Item Weight
41.4 Oz
Item Length
10.9 in
Item Width
10 in
Additional Product Features
Intended Audience
Trade
LCCN
2003-109411
Dewey Edition
22
Grade From
College Freshman
Number of Volumes
1 vol.
Grade To
UP
Dewey Decimal
779/.24
Synopsis
Cindy Sherman's Untitled Film Stills , a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clich s. Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp. In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence., The photobook that defined a generation: 69 black-and-white photographs in Cindy Sherman s seminal cinematic style, made between 1977 and 1980 Cindy Sherman's Untitled Film Stills , a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés. Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp. In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence., The photobook that defined a generation: 69 black-and-white photographs in Cindy Sherman's seminal cinematic style, made between 1977 and 1980 Cindy Sherman's Untitled Film Stills , a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés. Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp. In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.
LC Classification Number
TR655
Item description from the seller
Seller feedback (989)
- a***c (2631)- Feedback left by buyer.Past monthVerified purchaseGood experience. Book as described.
- r***n (102)- Feedback left by buyer.Past monthVerified purchaseRecommended seller. Buy with confidence.
- *****- Feedback left by buyer.Past monthVerified purchaseBook is in excellent condition (and seller included a cool postcard), thank you!
Seller feedback (989)
- a***c (2631)- Feedback left by buyer.Past monthVerified purchaseGood experience. Book as described.
- r***n (102)- Feedback left by buyer.Past monthVerified purchaseRecommended seller. Buy with confidence.
- *****- Feedback left by buyer.Past monthVerified purchaseBook is in excellent condition (and seller included a cool postcard), thank you!