Cindy Sherman: The Art of Identity and Constructed Photography
Cindy Sherman is a pioneering figure in contemporary photography, renowned for her ability to disappear into a multitude of personas. Rather than capturing a traditional self-portrait, Sherman uses her own body as a canvas to explore social stereotypes, gender roles, and the construction of identity. Working alone in her studio, she assumes every role in the production process: author, director, make-up artist, hairstylist, wardrobe mistress, and model.
Her process is deeply intuitive. By staring into a mirror next to the camera in a state she describes as "trance-like," Sherman transforms herself into a character. She responds to the mood, light, and costume of a setting, continuing to adjust external elements until the image aligns with her internal vision. For Sherman, the goal is not self-revelation, but the obliteration of her own identity within the character.
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Key Facts
- Multidisciplinary Approach: Sherman acts as the director, stylist, and model for all her series.
- Thematic Focus: Her work frequently critiques female stereotypes in media, film, and society.
- Evolution of Medium: She transitioned from black-and-white 8.5 x 11 inch prints to large-scale color Cibachromes and digital manipulation.
- Institutional Recognition: The Museum of Modern Art (MoMA) purchased her Untitled Film Stills series for approximately $1 million in 1995.
- Commercial Influence: She has collaborated with high-fashion brands including Prada, Marc Jacobs, and Balenciaga.
Early Works and the Exploration of Stereotypes
Bus Riders (1976–2000)
One of Sherman's earliest ventures into character study was the Bus Riders series, created for the Bus Authority. These cutout characters were designed for display on a bus advertising strip. The series has since become a point of critical debate; while some argue the use of blackface makeup showed racial insensitivity, others suggest it was intended to expose embedded societal racism. Critic Margo Jefferson noted a lack of diversity in the features of the African-American figures compared to the range given to white characters, describing it as a "stale visual myth."
Untitled Film Stills (1977–1980)
Sherman achieved international acclaim with Untitled Film Stills, a collection of 69 black-and-white photographs. In this series, she poses as various archetypes—such as librarians, seductresses, and "hillbillies"—evoking the aesthetic of 1940s–60s American film noir and Italian neorealism.
To maintain ambiguity, Sherman left the images untitled. The characters are often depicted alone and expressionless, representing rebellious women who exist outside conventional family structures. This series specifically highlights the male gaze—the perspective of a masculine viewer—by positioning the subject as if being watched by another.
The series was shot in various locations, including her own apartment, Robert Longo's family beach house on Long Island, and during a road trip to Arizona, where her father captured the iconic The Hitchhiker (Untitled Film Still #48).
Expanding the Visual Language: The 1980s
During the 1980s, Sherman expanded her scope to include fashion photography, historical portraits, and soft-core imagery. A pivotal shift occurred with Rear Screen Projections (1980), where she moved from black-and-white to color and larger formats. This series utilized rear-projected landscapes to create a sense of theatrical artifice, emphasizing that the identity presented is a construction.
Centerfolds and the Male Gaze
In her 1981 Centerfolds/Horizontals series, Sherman critiqued the expectations of men consuming fashion and pornographic magazines. By posing as a potential victim rather than a lascivious object, she aimed to make the viewer feel uncomfortable with their own expectations.
The Grotesque and the Abject
By the mid-80s, Sherman began incorporating prosthetics and mannequins. The Fairy Tales (1985) and Disasters (1986–1989) series departed from her earlier glamour, focusing instead on the grotesque, decay, and psychological distress. This era culminated in the 1989 Sex series, where Sherman removed herself entirely from the frame, using medical dummies in sexualized positions to create "anti-porn porn."
Later Evolutions: From History to Digital Art
In the 1990s and 2000s, Sherman continued to challenge beauty standards. Her History Portraits (1989–1990) restaged European portrait paintings from the 15th to 19th centuries. Later, the Society Portraits (2008) used digital manipulation to enhance wrinkles and sagging skin, depicting affluent older women struggling with a youth-obsessed culture.
In the 2010s, Sherman embraced digital tools and social media. She created a photographic mural for MoMA (2012) and collaborated with W Magazine on a "plandid" (planned candid) project for Instagram using photo-correction apps. Her most recent explorations include large-scale figures set against Icelandic landscapes and self-portraits rendered as tapestries.
Summary of Major Series
| Series Title | Period | Key Characteristics | Primary Theme |
|---|---|---|---|
| Untitled Film Stills | 1977–1980 | B&W, 8.5x11, Film Noir style | Female stereotypes & Male Gaze |
| Rear Screen Projections | 1980 | Color, Rear-projected backgrounds | Artifice and theatricality |
| Centerfolds | 1981 | Large color spreads, recumbent poses | Critique of pornographic expectations |
| Fairy Tales | 1985 | Prosthetics, vivid color, grotesque | Subversion of idealized narratives |
| Sex Pictures | 1989/1992 | Medical dummies, prosthetic limbs | Anti-pornography / The Abject |
| Society Portraits | 2008 | Digital manipulation, affluent women | Aging and beauty standards |
Frequently Asked Questions
Does Cindy Sherman consider her work to be self-portraiture?
No. Sherman has stated that she feels anonymous in her work and does not see herself when looking at the pictures. She views her process as a way to disappear into a character rather than reveal her own identity.
What is the significance of the "male gaze" in her work?
The male gaze refers to the perspective of a heterosexual man as the default viewer. In series like Untitled Film Stills, Sherman positions herself to highlight how women are often viewed and categorized by society through this masculine lens.
Why did Sherman leave her early photographs untitled?
She avoided titles to preserve the ambiguity of the images, allowing the viewer to project their own narratives onto the characters without being guided by a specific label.
How has Sherman's use of technology changed over time?
She began with traditional black-and-white film, moved to large-scale color Cibachromes, and eventually adopted digital photography, Photoshop, and mobile photo-correction apps to manipulate her images.
Has Cindy Sherman worked in the commercial fashion industry?
Yes, she has collaborated with numerous high-end designers, including Prada, Dolce & Gabbana, Marc Jacobs, and Balenciaga, often playing with and subverting the conventions of fashion photography.