Cynthia Morris Sherman (born January 19, 1954) is an American photographer and film director, best known for her conceptual portraits. Sparse lighting centers the composition and lends an ominous tone to the entire photograph. I just know I have seen her before, somewhere. For four decades, Cindy Sherman has probed the construction of identity, playing with the visual and cultural codes of art, celebrity, gender, and photography. ", "I feel I’m anonymous in my work. Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... Meet extraordinary women who dared to bring gender equality and other issues to the forefront. Main; Clothes; Photographer Cindy Sherman attends the 2013 Party In The Garden at the Museum of Modern Art on May 21, 2013 in New York City. Cindy Sherman belongs to the so-called Pictures Generation, a group of American artists raised in the golden era of mass media, the booming Fifties, and come of age in the turbulent and disillusioned early Seventies. Cindy Sherman Opens Up About Her Ageless Style Upon her new retrospective opening at London’s National Portrait Gallery, the trailblazing artist talks personal style and her … If you find yourself saying that, not just once but again and again and again, you are not alone. Sherman sought to call into question the seductive and often oppressive influence of mass-media over our individual and collective identities. She is among the most significant artists of the Pictures Generation—a group that also includes Richard Prince, Louise Lawler, Sherrie Levine, and Robert Longo—who came of age in the 1970s and … 'Pictures By Women': A Too-Ambitious Exhibition? In her work, the photographer confronts matters of gender roles, identity and physicality, often using herself as the subject. She was born on 19 January 1954 in Glen Ridge, New Jersey. Corrections? She is, typically, at first suspicious of the metropolitan lights and shadows, only to be eventually seduced by its undeniable attractions. In 1975, she produced a series entitled "Cutouts" in which she was the character in her made up plot. In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to … Our editors will review what you’ve submitted and determine whether to revise the article. She is a key figure of the " Pictures Generation," a loose circle of American artists who came to artistic maturity and critical recognition during the early 1980s, a period notable for the rapid and widespread proliferation of mass media imagery. Aug 10, 2019 - Explore Eric Landgraf's board "Cindy Sherman photos" on Pinterest. She graduated from SUNY in 1976 and in 1977 began work on Untitled Film Stills (1977–80), one of her best-known series. Starting out as a painter in 1972, she moved towards photography and began using make-up and costume to create images of herself as various societal archetypes. Facts about Cindy Sherman 1: the early life People recognize her more due to her conceptual portraits. CINDY SHERMAN (American, b. Her works can rely on shock, surprise but also beauty. Sherman's photographic portraiture is both intensely grounded in the present while it extends long traditions in art that force the audience to reconsider common stereotypes and cultural assumptions, among the latter political satire, caricature, the graphic novel, pulp fiction, stand-up comedy (some of her characters are indeed uncomfortably "funny"), and other socially critical disciplines. Or maybe you like this version of me.". Ring in the new year with a Britannica Membership, This article was most recently revised and updated by, https://www.britannica.com/biography/Cindy-Sherman, The Lilith Gallery of Toronto - Biography of Cindy Sherman, Artfacts.net - Biography of Cindy Sherman, National Portriat Gallery - Biography of Cindy Sherman. May 15, 2000. At the same time her adoption of these roles inevitably leads her to be objectified further. As though they constituted only a first premise, however, these images promptly begin to unravel in various ways that suggest how self identity is often an unstable compromise between social dictates and personal intention. Others, understand Sherman's approach as critically-ironic parody of female stereotypes. Sherman continued these juxtapositions in a 2000 series of photographs in which she posed as Hollywood women with overblown makeup and silicone breast implants, again achieving a result of enigmatic pathos. Cindy Sherman, Untitled #613, 2019, dye sublimation print, 79 1/4 by 101 3/4 inches; at Metro Pictures. [...] That's certainly something I don’t think men would relate to". ©2021 The Art Story Foundation. Both terms refer to American artists' mimicking, in the first half of the 1980s, former art masterpieces or widely circulating images in the mass media, and critically reworking them to arouse a sense of unease in the viewer, indeed often suggesting that culture had become largely a game of theatrical posing and egoistic pretense. Her full name is Cynthia Morris Sherman. Sherman has also implied that the works were created primarily for a female viewership, stating that "Even though I've never actively thought of my work as feminist or as a political statement, certainly everything in it was drawn from my observations as a woman in this culture. Sherman successfully evokes one of the oldest, quasi-racist "cheap tricks" in the movie business, the setting up of a vulnerable female or private school girl (note the prototypical uniform of starched white shirt and plaid skirt) being preyed upon by some terrible, evil monster. The books and articles below constitute a bibliography of the sources used in the writing of this page. With wetted hair and a tensed position, she appears as if she just walked off the set of a horror film. Sherman stated that the series was “about the fakeness of role-playing as well as contempt for the domineering ‘male’ audience who would mistakenly read the images as sexy.” She continued to be the model in her photographs, donning wigs and costumes that evoke images from the realms of advertising, television, film, and fashion and that, in turn, challenge the cultural stereotypes supported by these media. My intentions are neither feminist nor political. That same year a major retrospective of her work was exhibited at the Museum of Contemporary Art in Chicago and at the Museum of Contemporary Art in Los Angeles. To me it was a way to make the best out of what I liked to do privately, which was to dress up. 1954)Untitled #118, 1983Chromogenic print34-7/8 x 23-1/4 inches (88.6 x 59.1 cm)Ed. While the Forbes writer acknowledges that Sherman’s work for the last 40 years has depicted females, and now include men, she notes, “There’s an eerie similarity between the male and female portrayed. At first painting in a super-realist style in art school during the aftermath of American Feminism, Sherman turned to photography toward the end of the 1970s in order to explore a wide range of common female social roles, or personas. One of the greatest photographers of the late 20th century, the American Cindy Sherman made taking selfies an art form before the rest of the world knew the word even existed. In the late 1980s and into the ’90s, she expanded her focus to more grotesque imagery, like the mutilated mannequins of her “Sex Pictures” (1992). Cindy Sherman - the Photographer of Performance As a performative photographer, Sherman’s process of creation begins with hours of preparations, such as layering on the wigs, prosthetics, make-up and carefully chosen clothes, everything with the aim of embodying the things and expectations imposed on women by society and culture. The New Yorker / In 2016 Sherman was awarded the Praemium Imperiale prize in painting, a category that also encompasses photography. When Cindy Sherman was a child, she was given a pile of vintage 1920s clothes by her great-grandmother. 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