Cindy Sherman
Cindy Sherman: A Pioneering Artist of Self-Portraiture
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Full Name and Common Aliases
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Cindy Sherman is the full name of this renowned American artist, photographer, and filmmaker.
Birth and Death Dates
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Born on January 19, 1954, in Glen Ridge, New Jersey. Still active and alive today.
Nationality and Profession(s)
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American artist, photographer, and filmmaker known for her innovative and provocative works that challenge traditional notions of identity and representation.
Early Life and Background
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Cindy Sherman grew up in a middle-class family with two parents who were both supportive of her creative endeavors. She developed an interest in photography at an early age and began experimenting with cameras during her teenage years. Sherman's childhood was marked by frequent moves, which would later influence her exploration of different identities and personas in her work.
Major Accomplishments
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Sherman's breakthrough came in the late 1970s when she started creating a series of self-portraits that blurred the lines between reality and fiction. Her photographs often featured herself dressed in elaborate costumes and makeup, posing as various historical or cultural icons. This innovative approach earned her recognition within the art world and paved the way for future generations of artists.
Notable Works or Actions
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Some of Sherman's most notable works include:
Untitled Film Stills (1977-1980): A series of photographs that parodied classic Hollywood film noir, further cementing her reputation as a master of self-portraiture.
History Portraits (1989-1991): A collection of images that depicted Sherman dressed as historical figures such as Queen Elizabeth I and Cleopatra, highlighting the tension between authenticity and artifice.
* Film Stills (1980): A series that showcased Sherman's ability to embody a wide range of characters, from 19th-century aristocrats to modern-day teenagers.
Impact and Legacy
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Cindy Sherman has had a profound impact on contemporary art, pushing the boundaries of what is considered acceptable in photography and challenging traditional notions of identity. Her work continues to inspire artists, photographers, and filmmakers worldwide, solidifying her place as one of the most influential artists of our time.
Why They Are Widely Quoted or Remembered
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Sherman's groundbreaking contributions to art and culture have made her a widely recognized figure in the world of contemporary art. Her innovative approach to self-portraiture has inspired countless artists, photographers, and filmmakers, cementing her legacy as a true pioneer in the field.
As an artist who continues to push boundaries and challenge societal norms, Cindy Sherman's influence will undoubtedly be felt for generations to come.
Quotes by Cindy Sherman
Cindy Sherman's insights on:
I realised that in my last two bodies of work - the mural and the Chanel pieces - that I didn't use any make-up because I was changing the faces digitally, and I realised I missed make-up in a major way.
I wanted pretty pictures of older women - women who are trying too hard but succeeding - pulling off an extreme look. What I didn't know would creep into the portraits was a vulnerability behind the strong facade that most of them wear.
My dad was such a bigot. He was a horrible, self-centred person. He was really racist and he'd talk about the Jews and blacks and Catholics even.
It is not like adding wrinkles to look older; it is using the wrinkles I already have to say something else. What is disturbing is not seeing more lines on my face but seeing that the range of possibilities of what I can do is much more limited.
As I was looking through a book about German Expressionist films and their stars, it all came together because of the extreme way actors made their faces up in those early day of film in order to pop out in the black-and-white. I just wanted to use makeup in the same way, partly perhaps because as women get older, they're told to wear less makeup.
The more horrific works came out of a feeling that everyone accepted my stuff too easily. I was deliberately trying to be antagonistic towards collectors and critics.
Quite often, I will do something and think, 'Oh, no, she looks a little too much like me.' I have tried to learn not to be afraid of that when that happens. I am not trying to obliterate myself and completely hide within the images like I used to.
I always need to get away from whatever it is I've just finished, to feel a distance from it.
I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.