Cindy Sherman


Cynthia Morris Sherman is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters.
Her breakthrough work is often considered to be the collection Untitled Film Stills, a series of 70 black-and-white photographs of herself evoking typical female roles in performance media.

Early life and education

Sherman was born in 1954, in Glen Ridge, New Jersey, the youngest of the five children of Dorothy and Charles Sherman. Shortly after her birth, her family moved to the township of Huntington, Long Island. Her father worked as an engineer for Grumman Aircraft. Her mother taught reading to children with learning difficulties. Sherman has described her mother as good to a fault, and her father as strict and cruel. She was raised Episcopalian.
In 1972, Sherman enrolled in the visual arts department at Buffalo State University, where she majored in painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing. Frustrated with what she saw as the limitations of painting as a medium of art, she abandoned it and took up photography. "here was nothing more to say ", she recalled. "I was meticulously copying other art, and then I realized I could just use a camera and put my time into an idea instead." Sherman has said about this time:
"One of the reasons I started photographing myself was that supposedly in the spring one of my teachers would take the class out to a place near Buffalo where there were waterfalls and everybody romps around without clothes on and takes pictures of each other. I thought, 'Oh, I don't want to do this. But if we're going to have to go to the woods I better deal with it early.' Luckily we never had to do that."
She spent the remainder of her college education focused on photography. Though Sherman had failed a required photography class as a freshman, she repeated the course with Barbara Jo Revelle, whom she credited with introducing her to conceptual art and other contemporary forms. At college she met Robert Longo, a fellow artist who encouraged her to record her process of "dolling up" for parties. This was the beginning of her Untitled Film Stills series.
In 1974, together with Longo, Charles Clough and Nancy Dwyer, she created Hallwalls, an arts center intended as a space that would accommodate artists from diverse backgrounds. Sherman was also exposed to the contemporary art exhibited at the Albright-Knox Art Gallery, the two Buffalo campuses of the SUNY school system, Media Studies Buffalo, and the Center for Exploratory and Perceptual Arts, and Artpark, in nearby Lewiston, N.Y.
It was in Buffalo that Sherman encountered the photo-based conceptual works of artists Hannah Wilke, Eleanor Antin, and Adrian Piper. Along with artists like Laurie Simmons, Louise Lawler, and Barbara Kruger, Sherman is considered to be part of the Pictures Generation. She graduated with a BA in 1976.

Photography

Sherman works in series, typically photographing herself in a range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model.

Early work

Bus Riders is a series of photographs that feature the artist as a variety of meticulously observed characters. The photographs were shot in 1976 for the Bus Authority for display on a bus. Sherman used costumes and make-up, including blackface, to transform her identity for each image, and the cutout characters were lined up along the bus's advertising strip. Some critiques say that this work showed insensitivity to race through the use of blackface makeup while others state that it was rather with the intention of exposing racism embedded in society. The American theatre critic Margo Jefferson has written, " all have nearly the same features, too, while Ms. Sherman is able to give the white characters she impersonates a real range of skin tones and facial features. This didn't look like irony to me. It looked like a stale visual myth that was still in good working order."
Other early works involved cutout figures, such as the Murder Mystery and Play of Selves.
In her landmark photograph series Untitled Film Stills,, Sherman appears as B movie and film noir actresses. When asked if she considers herself to be acting in her photographs, Sherman said, "I never thought I was acting. When I became involved with close-ups I needed more information in the expression. I couldn't depend on background or atmosphere. I wanted the story to come from the face. Somehow the acting just happened."
Many of Sherman's photo series, like the 1981 Centerfolds, call attention to stereotypes of women in society, films, television and magazines. When talking about one of her centerfold pictures Sherman stated, "In content I wanted a man opening up the magazine suddenly look at it with an expectation of something lascivious and then feel like the violator that they would be looking at this woman who is perhaps a victim. I didn't think of them as victims at the time... Obviously I'm trying to make someone feel bad for having a certain expectation".
She explained to The New York Times in 1990, "I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear." She describes her process as intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants. She has said of her process, "I think of becoming a different person. I look into a mirror next to the camera...it's trance-like. By staring into it I try to become that character through the lens... When I see what I want, my intuition takes over—both in the 'acting' and in the editing. Seeing that other person that's up there, that's what I want. It's like magic."

''Untitled Film Stills''

The series Untitled Film Stills, with which Cindy Sherman achieved international recognition, consists of 69 black-and-white photographs. The artist poses in different roles, and settings, producing a result reminiscent of stills typical of Italian neorealism or American film noir of the 1940s, 1950s and 1960s.
Sherman avoided putting titles on the images in order to preserve their ambiguity. She would often pose her heroines as alone, expressionless, and in private. An overarching characteristic of her heroines were those that did not follow conventional ideas of marriage and family; they were rebellious women who either died as that or who were later tamed by society. In this series, the gaze seems to come from another subject – "usually a man" – to highlight the concept of the male gaze.
Modest in scale compared to Sherman's later cibachrome photographs, they are all 8 1/2 by 11 inches, each displayed in identical, simple black frames.
Sherman used her own possessions as props, or sometimes borrowed, as in Untitled Film Still #11 in which the doggy pillow belongs to a friend. The shots were also largely taken in her own apartment.
The Untitled Film Stills fall into several distinct groups:
  • The first six are grainy and slightly out of focus.
  • The next group was taken in 1978 at Robert Longo's family beach house on the north fork of Long Island.
  • Later in 1978, Sherman began taking shots in outdoor locations around the city. E.g. Untitled Film Still #21
  • Sherman later returned to her apartment, preferring to work from home. She created her version of a Sophia Loren character from the movie Two Women.
  • She took several photographs in the series while preparing for a road trip to Arizona with her parents. Untitled Film Still#48, also known as The Hitchhiker, was shot by Sherman's father at sunset one evening during the trip.
  • The remainder of the series was shot around New York, like Untitled #54, often featuring a blonde victim typical of film noir.
The Museum of Modern Art in Manhattan purchased the series for an estimated $1 million in 1995.
Untitled Film Still #21 was listed as one of the 100 influential photographs by TIME Magazine.

1980s

In addition to her film stills, Sherman has appropriated a number of other visual forms—the centerfold, fashion photograph, historical portrait, and soft-core sex image. These and other series, like the 1980s Fairy Tales and Disasters sequence, were shown for the first time at the Metro Pictures Gallery in New York City.
It was with her series Rear Screen Projections, 1980, that Sherman switched from black-and-white to color and to clearly larger formats. Centerfolds/Horizontals, 1981, are inspired by the center spreads in fashion and pornographic magazines. The twelve photographs were initially commissioned — but not used — by Artforum's Editor in Chief Ingrid Sischy for an artist's section in the magazine. She poses either on the floor or in bed, usually recumbent and often supine. About her aims with the self-portraits, Sherman has said: "Some of them I'd hope would seem very psychological. While I'm working I might feel as tormented as the person I'm portraying."
In 1982, Sherman began her Pink Robes series which includes Untitled #97, #98, #99 and #100.
In Fairy Tales, 1985, and Disasters, 1986–1989, Cindy Sherman uses visible prostheses and mannequins for the first time. Provoked by the 1989 NEA funding controversy involving photographs by Robert Mapplethorpe and Andres Serrano at the Corcoran Gallery of Art, as well as the way Jeff Koons modeled his porn star wife in his "Made in Heaven" series, Sherman produced the Sex series in 1989. For once she removed herself from the shots, as these photographs featured pieced-together medical dummies in flagrante delicto.
Between 1989 and 1990, Sherman made 35 large, color photographs restaging the settings of various European portrait paintings of the fifteenth through early 19th centuries under the title History Portraits.
Rear Screen Projections
is a series of photographs created by Cindy Sherman in 1980. This particular body of work features herself as the model in each image, posing in front of various rear-projected landscape scenes. Sherman appears in various guises, often described as "hitchhiker" or "runaway" types. The use of rear-projected images creates a sense of artifice and theatricality, as Sherman's character seems to be placed within, but not truly a part of, the depicted landscape. The settings range from mundane roadside scenes to more exotic, dreamlike vistas.
The series is seen as a continuation of themes explored in Sherman's earlier work Untitled Film Stills, particularly the exploration of female stereotypes and the construction of identity through photography. However, Rear Screen Projections differs in its overt use of artifice, drawing attention to the constructed nature of the image.
This body of work is considered a significant series in Sherman's oeuvre, bridging her early work with her later, more elaborate series. It's recognized for its innovative use of rear projection and its continued exploration of themes of identity, representation, and the constructed nature of reality. The series has been influential on subsequent generations of photographers and artists working with constructed photography and staged self-portraiture.
Fairy Tales
Fairy Tales is a series of photographs created by Cindy Sherman in 1985. The series marks a significant departure from her earlier work, such as the Untitled Film Stills, in its overt engagement with grotesque and abject imagery.
In Fairy Tales, Sherman transforms herself into a cast of disturbing and often repulsive characters, drawing inspiration from classic fairy tales, though not illustrating specific narratives. The photographs feature Sherman in elaborate costumes and makeup, often surrounded by decaying props, discarded objects, and unsettling environments. The images evoke a sense of decay, horror, and psychological distress, subverting the traditional, idealized representations of fairy tale characters.
The series is characterized by its use of vivid color, theatrical staging, and a focus on the grotesque. Sherman employs prosthetics, masks, and other theatrical devices to create monstrous and deformed figures, challenging conventional notions of beauty and femininity.