Indeed, the vast majority of her photos are self-portraits. However, thanks to her transformations, there are endless ways to rediscover this artist.
From the shape of her cheeks to the colour of her eyes; she leaves nothing to chance. Her transformative processes reach such heights that you have the disturbing impression you are looking at someone else. The confrontation of prevalent female stereotypes is central to her work.
Through posing and photographing herself in various settings, she calls attention to the objectification of women. The viewer is directly faced with and forced to confront these misogynistic stereotypes. She aims to make people recognise themselves in these situations and become aware of their inherent sexism. Several series deal directly with these issues. In Sex Pictures , Sherman photographed plastic dolls in erotic positions to denounce the constant sexualisation of women in the media.
In this series, viewers were more struck with feelings of repulsion than identification. In this way, her work is incredibly thought-provoking. She focuses on the message of her work feminism and criticism rather than its beauty to provoke reflection. She tries to be as close as possible to reality instead of embellishing it. Another thing to know about Cindy Sherman? She works in series. Choosing a specific theme enables her to explore all its aspects. One of her most famous series is Clowns Artistic personae can not only be instantly created but also instantly animated and disseminated.
Art via avatar. In the hilarious video I Am Your Grandma , Mayer plays both the future grandmother of a furious infant and the bawling baby.
But this is grandma as gremlin. I would have hugged you so. But you are in the future, you get loved by video. Her impersonation of Venus de Milo takes a violent turn when she amputates her own arms. She was the trendsetter in terms of distorted characters within self- portraiture. Originally painters painted self-portraits, and then she kind of blew it open with photographic portraiture, and now there are all these avenues younger artists are taking, which would not have been so easy without her work.
She fundamentally nailed it in terms of understanding the way images are constructed. Portraiture was never considered something conceptual in quite the way that she took it on.
By deconstructing and reinventing portraiture, which in itself was something of a dead genre when she arrived on the scene, Sherman influenced not only photographers but also painters and performance and video artists.
And by limiting her subject matter strictly to herself, while at the same time excavating countless permutations, she inspired a generation of younger artists to explore their own identities across a range of mediums. Eyes closed, bare of any artifice but the slightest hint of makeup, Sherman is shown totally unmasked. And she played it out incredibly, and then she just used that as the stepping-stone to take it further and further and further out.
So much of her work is performance, so much is improvisation, so much is theater. I am sure there are all kinds of people who look at Cindy as their god. Other Sherman progeny include Nikki S.
Lee, who impersonates a member of a cultural group yuppies, senior citizens , interacts with each group, and then documents it in a snapshot; and Yasumasa Morimura, who photographs himself as various cinematic femmes fatales, from Audrey Hepburn to Elizabeth Taylor.
A less conspicuous but equally important legacy involves the way her work has permanently blurred the line between fine art and photography. Wearing elaborate make-up and fanciful costumes, she positions herself in front of digitally manipulated backgrounds, against which she explores the extremes of the clown character - its intense, yet superficial humor, its implied sadness, and its potential, subliminal rage.
Set up much like a glamour shot, this photo focuses on the clown's face as the strange character stares stoically at the audience.
The viewer is almost challenged, by the multiplied aspects of gross exaggeration in color, body type, expression, and circumstance, to make sense of the farcical image. The rather direct focus of the clown's eyes suddenly prods us to ask ourselves why we find such a figure humorous, and if the reasons behind our common laughter may in fact be traced to a cruel truth of human behavior normally left unquestioned in everyday reality.
In one of her most recent untitled series, Sherman explores the role of the suburban American housewife, or middle-American "everywoman," a character at once sympathetic, pathetic, and often too close to recognition for comfort.
Juxtaposing female types trying desperately to look "cultured," yet failing miserably to cross the social divide between so-called "good breeding" and mere awkward "social climbing," Sherman's cast of characters once again give rise to feelings of unease and painful self-recognition. Never fully defining where she stands in relation to such images, Sherman leaves interpretation open to the individual viewer, something that ultimately says more about the person reading these images than the subjects portrayed in their glossy, mirror-like surfaces.
Content compiled and written by Bonnie Rosenberg. Edited and published by The Art Story Contributors. Plus Page written by Kimberly Nichols. The Art Story. The Pictures Generation. I wasn't thinking in terms of precious prints or archival quality; I didn't want the work to seem like a commodity. Even people who don't spend any time, or think they don't, on preparing themselves for the world out there - I think that ultimately they have for their whole lives groomed themselves to be a certain way, to present a face to the world.
When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear. I just use myself as a model because I know I can push myself to extremes, make each shot as ugly or goofy or silly as possible.
That may be because I have nothing specific in mind when I'm working. My intentions are neither feminist nor political. I try to put double or multiple meanings into my photos, which might give rise to a greater variety of interpretations. To me it was a way to make the best out of what I liked to do privately, which was to dress up. Summary of Cindy Sherman Cindy Sherman is a contemporary master of socially critical photography. Read artistic legacy.
A Deeper Dive into Sherman: the classical archetypes in her self-portraits. Artwork Images. Influences on Artist. Robert Longo. Charles Clough. Barbara Jo Revelle. Conceptual Art.
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