Sherman’s Brigade

More than any other American artist, she redefined photography and moved it from a lower rung to the upper echelons of the art stratosphere %26mdash;%26nbsp;including the image shown on this page, Untitled #96, which set a record when it sold last May at Christie%26rsquo;s for an incredible $3.89 million. She has also been a figure on the front lines of a radical rethinking of the power
of self-portraiture. Can you name her? If you said Cindy Sherman, you are correct. That%26rsquo;s why serious art denizens are making pilgrimages to take in one of the year%26rsquo;s most provocative retrospectives, %26ldquo;Cindy Sherman%26rdquo; at New York%26rsquo;s Museum of Modern Art. Go see how the work that began with black-and-white untitled film stills in 1977, measuring a modest 8 by 10 inches, forever changed contemporary art. Next spring, the Sherman show arrives at the Dallas Museum of Art for the fourth and final leg of its national tour. And hurry, Sherman is closer than you think. Catch the final days of the feminist exhibition narrative %26ldquo;The Deconstructive Impulse%26rdquo; at the Contemporary Arts Museum Houston, where a cache of Shermans steals the show. In a perfect coincidence, the artist%26rsquo;s CAMH PA comes almost 32 years to the day of her first-ever museum show, which was organized at the CAMH by the trend-spotting Linda Cathcart, who mounted %26ldquo;Cindy Sherman: Photographs%26rdquo; in February and March 1980. %26ldquo;Cindy Sherman,%26rdquo; at MoMA through June 11; at the DMA March 17, 2013 %26ndash;%26nbsp;June 9, 2013. %26ldquo;The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973 %26ndash; 1991,%26rdquo; at CAMH, through April 15.

IMAGE:%26nbsp; Cindy Sherman%26rsquo;s Untitled #96, 1981, at MoMA and CAMH. Photo courtesy Collection MoMA, NY; Gift of Carl D. Lobell; %26copy; Cindy Sherman 2012.

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