Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
See the measure of artist investment performance relative to risk. A higher ratio suggests better risk-adjusted returns, indicating more consistent performance with less risk.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Last Sale Date | Title | Edition No. | Last Sale | Last Sale Auction House | Last Sale Location | |
|---|---|---|---|---|---|---|---|
| May 9, 2016 | Untitled (#175) | Christie's | New York | ||||
| Nov 16, 2000 | Untitled No.175 | Christie's | New York | ||||
| Nov 14, 2000 | Untitled | Sotheby's | New York | ||||
photographs
121.9 x 181.6 cm (48 x 71.5 in)
color coupler print mounted on foamcore
Metro Pictures, New York
Private collection, New York
Anon. sale; Sotheby's, New York, 14 November 2000, lot 12
Skarstedt Fine Art, New York
Acquired from the above by the present owner
New York, Whitney Museum of American Art, Cindy Sherman, July-October 1987, pl. 126 (another example exhibited and illustrated in color).<br>São Paulo, Museu de Arte Moderna, Cindy Sherman: The Self Which is Not One, June-July 1995, n.p (another example exhibited and illustrated in color).<br>Hamburg, Deichtorhallen; Malmö, Kunsthall and Luzern, Kunstmuseum, Cindy Sherman: Photoarbeiten 1975-1995, May 1995-February 1996, no. 96 (another example exhibited and illustrated in color).<br>Rotterdam, Museum Boijmans Van Beuningen; Madrid, Museo Nacional Centro de Arte Reina Sofía; Bilbao, Sala de Exposiciones REKALDE and Baden-Baden, Staatliche Kunsthalle, Cindy Sherman, March 1996-March 1997, pp. 76-77, pl. 31 (another example exhibited and illustrated in color).<br>Los Angeles, Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; Bordeaux, CAPC musée d'art contemporain and Toronto, Art Gallery of Ontario, Cindy Sherman: Retrospective, November 1997-January 2000, pp. 141 and 198, pl. 107 (another example exhibited and illustrated in color).<br>Basel, Museum für Gegenwartskunst, Flashback: Revisiting the Art of the 80s, October 2005-February 2006, p. 172 (another example exhibited).<br>Paris, Jeu de Paume; Kunsthaus Bregenz; Louisiana Museum of Modern Art and Berlin, Martin-Gropius-Bau, Cindy Sherman, May 2006-September 2007, pp. 130-131, 255, 295 and 317 (another example exhibited and illustrated in color).<br>Greenwich, Bruce Museum, Cindy Sherman: Works from Friends of the Bruce Museum, January-April 2011, pp. 29, 30 and 63 (illustrated in color).<br>New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center and Dallas Museum of Art, Cindy Sherman, February 2012-June 2013, pp. 36, 61, 170-171 and 243, pl. 116 (another example exhibited and illustrated in color).<br>New York, David Zwirner, No Problem: Cologne/New York 1984-1989, May-June 2014, pp. 49 and 274 (another example exhibited and illustrated in color).<br>
I. Takano and L. Simmons, Cindy Sherman, Tokyo, 1987, p. 88 (another example illustrated).<br>R. Krauss, Cindy Sherman: 1975-1993, New York, 1993, pp. 162-163, 193, 220 and 230 (another example illustrated in color).<br>G. Neven Du Mont and W. Dickhoff, Cindy Sherman, Kunst Heute No. 14, Cologne, 1995, pp. 52-55 (another example illustrated).<br>Y. Bois and R. Krauss, L'Informe: mode d'emploi, exh. cat., Paris, Centre Georges Pompidou, 1996, pp. 226-227 (another example illustrated in color).<br>J. Heyler, M. Elena Ramos and C. Hernandez, Cindy Sherman: Una selección de las colecciones de la Eli Broad Family Foundation, Caracas, 1997, p. 15 (another example illustrated).<br>C. Morris, The Essential Cindy Sherman, New York, 1999, p. 84 (another example illustrated).<br>R. Steiner and L. Moore, Cindy Sherman, London, 2003, p. 16.<br>J. Burton, ed., Cindy Sherman, October Files 6, Cambridge, 2006, pp. 75 and 89, no. 22 (another example illustrated).<br>F. Stocchi, Cindy Sherman, Supercontemporanea series, Milan, 2007, pp. 58-59.<br>J. Harris, ed., Identity Theft: The Cultural Colonization of Contemporary Art, Liverpool, 2008, p. 122 (another example illustrated in color).<br>H. Werner Holzwarth, ed., 100 Contemporary Artists, Cologne, 2009, p. 540 (another example illustrated in color).<br>R. Olivares, ed., “Once Upon a Time,” Exit, no. 33, April 2009, p. 123 (another example illustrated).<br>L. Essling, ed. Untitled Horrors, Ostfildern, 2013, p. 116.<br>E. Heartney, et al., After the Revolution: Women Who Transformed Art, Munich, 2007, p. 180 (another example illustrated in color).<br>D. Anfam, et al., eds., Cindy Sherman, London, 2014, p. 93, no. 77 (another example illustrated in color).<br>
This work is number two from an edition of six.
