or why "I could've done that" is irrelevant

Cindy Sherman

A common theme within contemporary art is the concept of addressing an idea, rather than focusing exclusively on perfectly rendering what it is that you’re depicting. This theme brings us to Cindy Sherman. Sherman became frustrated with painting while studying visual arts at Buffalo State College. Although Sherman failed her college photography class, she was encouraged to retake it, which quickly sparked her love for the medium. She stated, “There was nothing more to say through painting. 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’s main subject is herself; she creates complex narratives through series of self-portraits, often portraying herself as different characters. One thing that I especially admire about Sherman is that she truly does it all. In each portrait, she is the photographer, hairstylist, makeup artist, wardrobe director, author, and model. It is hard enough to do one of those jobs, but Sherman tackles it with ease, giving her a truly unique style that is recognizable and highly sought after. Perhaps this is why two of her portraits are the #2 and #7 most expensive photographs ever sold, cashing in at $3.89 million and $2.7 million, respectively.

Since she was a young girl, Sherman had always loved dressing up and creating different personas for herself. In 1977, she pulled from that passion to create one of her most recognizable bodies of work, Untitled Film Stills. Sherman is a master at changing her mannerisms and appearance to accurately represent a variety of female movie stereotypes, including the housewife, the damsel in distress, and the prostitute.

Although the vast majority of Sherman’s works are technically self-portraits, we must hesitate to identify them as such. Sherman makes it very clear, by her portrayals, and by the titling of each photograph, “untitled,” that although she is the camera’s subject, these photos are not about her at all. Each portrait represents a different woman, and although she pulls from many common stereotypes, the portraits are always sympathetic to, rather than mocking, her subjects. She understands that these stereotypes are unfair, and seeks to make even the most radical representations personable and understandable, while also challenging society’s expectations for women.


If you have more interest in Cindy Sherman, the Palmer Art Museum on Penn State’s campus (in between the library and East Halls on Curtin Road) owns one of Sherman’s prints, so you can go get a look for yourself!
Sherman C. -untitled 2000
This portrait (currently in the Palmer) is from Sherman’s series, Untitled 2000, in which she represents washed-up Hollywood actors. In this photo, a former child actress is shown clutching a remnant of the life that made her famous, then rejected her. Another famous portrait in the same series (not in the Palmer) depicts a sun-tanned, bleach-blonde middle-aged woman.

In her works, Sherman strives to create art that can be understood by all, not just those with art education. She believes that photographs are an accessible, relatable, and easy understood medium. Sherman pours her entire self in to each work, clearly evidenced by her choice to take on all roles of production. The images she produces are always new and fresh, capturing her signature style and delivering a narrative.

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