Untitled, 1985 - Cindy Sherman
About the Work
This diptych by Cindy Sherman is an excellent example of the artist's uncanny ability to skillfully alter her own appearance so that the viewer is not immediately aware that she herself is the subject. Like much of her works ...Read More
This diptych by Cindy Sherman is an excellent example of the artist's uncanny ability to skillfully alter her own appearance so that the viewer is not immediately aware that she herself is the subject. Like much of her works, these images are not intended to be self-portraits that actually represent Sherman. Instead, each is meant to be a narrative, and the characters are symbolic. These photographs are moody, mysterious, and dark. The woman on the left crouches suggestively on her hands and knees, facing the camera with a cluster of photographs in front of her, while the woman on the right slouches in a chair. The women's facial expressions are disquieting, and their relationship to each other is unclear and intriguing.Read Less
About the Artist
About Cindy Sherman
Known for posed photographs that explore and question representations of women from Renaissance portraiture to contemporary mass media, Cindy Sherman is one of the most ...Read More
Known for posed photographs that explore and question representations of women from Renaissance portraiture to contemporary mass media, Cindy Sherman is one of the most important artists working today. Serving as her own model in the majority of her work, Sherman's self-portraits came to prominence in the late 1970s through a series of black-and-white photographs called Untitled Film Stills. In these works, produced between 1977 and 1980 and evocative of glossy 8x10-inch publicity shots, Sherman used different costumes, backdrops, wigs, facial expressions, make-up, and poses to transform herself into a range of female archetypes from debutante to starlet, from housewife to lush.
A remarkable performer, Sherman reconfigures her face and body for the camera — either through subtle distortions or grotesque prosthetics — to render herself all but unrecognizable to the audience. Each image is overloaded with detail, every nuance caught by the artist's eye. While Sherman is usually disguised in her pictures, she leaves details slightly askew so that the constructed scene, and its related artifice, is revealed.
Since the early 1980s, most of Sherman's work has been of larger scale and in color, but her principal concern—to confront how media influences our perception of identity— has remained constant. All of the photographs are untitled and Sherman's characters (with the exception of several sequential shots in the Untitled Film Still series) have never appeared twice, leaving the viewer to consider the works without any narrative help from the artist.
DescriptionTwo chromogenic prints of color photographs.
AuthenticationSigned and numbered by the artist.
DimensionsTwo photographs, each measuring 10" x 8", framed together in a frame measuring 10.25" x 17" x .25"
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