9780870705076

Book Description: Museum of Modern Art, New York, New York, U.S.A., 2003. Hard Cover. Book Condition: New. Dust Jacket Condition: New D. J. First Printing. 4to - over 9¾" - 12" tall. New copy with like d.j. Bookseller Inventory # 021890

Book Description: MUSEUM OF MODERN ART IB-9780870705076. Book Condition: New. New book published in the US and delivered from our US warehouse in 10-14 days. Check out our low worldwide delivery costs! US Customers: Check out our great rate for multiple orders!. Bookseller Inventory # IB-9780870705076

Book Description: Book Condition: New. Brand new item. Over 6 million customers served. Order now. Selling online since 1995. Few left in stock - order soon. Code: U20091111225542G0870705075. SKU: 0870705075-11-UING. Bookseller Inventory # 0870705075-11-UING

Book Description: Museum of Modern Art BB-9780870705076. Book Condition: New. Brand new book published in the UK and delivered by First Class post within the UK to ensure prompt delivery. Please note: we only take orders through ABE - NOT DIRECT!. Bookseller Inventory # BB-9780870705076

Book Description: Museum of Modern Art BB-9780870705076. Book Condition: New. New book published in the UK and delivered from our UK warehouse in 10-14 days. Bookseller Inventory # BB-9780870705076

Book Description: Museum of Modern Art, 2003. Hardcover. Book Condition: New. 247mm x 21mm x 275mm. 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. 164 pages. Bookseller Inventory # S8526768

Book Description: Museum of Modern Art 2003-10-01, 2003. Book Condition: NEW. Dust Jacket Condition: NEW. Binding: HARDCOVER // (WARNING: If ordered with expediting, an extra shipping fee may be imposed due to excessive weight of this product.) There IS a difference between TRULY NEW and "like new". We sell only TRULY NEW product obtained directly from the publisher's distributor. We wrap in CARDBOARD! (Bubble wrap by itself is NOT protection from typical USPS handling!) We do NOT obtain product from ANY other sources. We have NO pre-owned material. If you demand TRULY NEW, shipped with CARDBOARD protection, and free USPS package tracking, then BookLoversUSA is the way to go. // NOTE THESE IMPORTANT DETAILS ABOUT THIS ITEM: Binding/format is: Hardcover. 164 p. 11.00 H x 1.00 D x 10.25 W inches 2.60 lbs. Language: English. ISBN 9780870705076. Bookseller Inventory # 1414593

Book Description: Book Condition: New. DISPATCHED FROM USA. NO EXPEDITED SHIPPING! Allow 10-14 business days for delivery. Before ordering please check the language in the product description. Brand new item. Over 6 million customers served. Order now. Selling online since 1995. Few left in stock - order soon. Code: U20091111225542G0870705075. SKU: 0870705075-11-UING. Bookseller Inventory # 0870705075-11-UING

Book Description: The Museum of Modern Art, New York. Hardcover. Book Condition: New. 0870705075 BRAND NEW Cindy Sherman : The Complete Untitled Film Stills by Sherman, Cindy. Bookseller Inventory # B9780870705076

Book Description: The Museum of Modern Art, New York, 2003. Hardcover. Book Condition: New. 1st Edition. First edition, first printing. Hardcover. Black cloth-covered boards, with title stamped in silver on cover and spine, with photographically illustrated dust jacket. Photographs and text by Cindy Sherman. Afterword by Glenn D. Lowry and Peter Galassi. Edited by David Frankel. Includes a list of plates. Designed by Pascale Willi, xheight inc., New York. 164 pp., with 70 duotone plates and 6 additional duotone illustrations, beautifully printed on 150gsm Larius Matte Satin paper from digital scans by Erik Landsberg and John Wronn. 10-7/8 x 9-7/8 inches. CONDITION: New in New dust jacket. In thinking about the Film Stills by Cindy Sherman, one should take a page from her own book, and simply stop talking about her photographs. Early on and continually, Sherman categorically refused to talk about her work, and I believe she is as surprised as anyone that her work generated so many words, words, words. The stills are perhaps meant to be iconic moments in which women's roles have been played out on screen. They might contain a feminist polemic, they might not. Now that they've been around for so long, they serve as a marker for the naivete of the photographic image in 1978, when the act of "acting" for the camera appeared to be a political act of mystery and elegance. And the question of whether these were "self portraits" or "portraits of self" has fueled the work of so many art students for the last twenty-five years. From the publisher: "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. Bookseller Inventory # 101956