In 1981, Sherman created a series of images showing herself squeezed into the horizontal, double-page format of the magazine spread. In each picture, the viewer loomed over the subject whose dramatically spot-lit poses-waiting for the phone to ring, crouching in terror, or staring catatonically into space-often implied an air of vulnerability, trauma, and even violence. By encouraging her audience to participate by proxy in the predatory "male gaze" reminiscent of Cinemascope B-movies and pornographic magazines, Sherman courted controversy; some critics felt that the works did not sufficiently stand apart from the objectification that they described so powerfully, and the magazine that commissioned the works ultimately rejected them for publication.
Inscription: Inscribed in pencil on the verso, RC: "Cindy Sherman 1981// 3/10"; BC: "HILLMAN"
Doris Hillman; Metro Pictures
[Metro Pictures Gallery, New York, until 1995]
The Metropolitan Museum of Art. "Depth of Field: Modern Photography at the Metropolitan," September 25, 2007–March 23, 2008.
Olander, William. Face It: 10 contemporary artists: John Ahearn, Janet Cooling, Nancy Dwyer, Mike Glier, Richard Prince, Rene Santos, David Saunders, Cindy Sherman, Jeff Way, Michael Zwack. 1st ed. Columbus, Ohio: Contemporary Arts Center, Cincinnati, ca. 1982. np.
Sherman, Cindy. Cindy Sherman. 1st ed. Stony Brook, N.Y.: State University of New York at Stony Brook, 1983. np (reproduced upside-down).
Parkett 29 (1991). pp. 106–7.
Krauss, Rosalind E. Cindy Sherman, 1975–1993. 1st ed. New York: Rizzoli, 1994. pp. 86–7.
Bois, Yve-Alain, and Rosalind E. Krauss. Formless: A User's Guide. 1st ed. New York: Centre Georges Pompidou, 1997. p. 234, fig. 75.
Sherman, Cindy. Centerfolds. 1st ed. New York: Skarstedt Fine Art, 2003. pp. 10-11.
Eklund, Doug. The Pictures Generation, 1974–1984. New York: The Metropolitan Museum of Art, 2009. pl. 180.
Respini, Eva. Cindy Sherman. New York: Museum of Modern Art, New York, 2012. no. 100, p. 150.