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Cindy Sherman (1954-)
Cindy Sherman's photographs are constructed scenarios in which she appears as the protagonist. Assuming various culturally stereotyped guises, she addresses issues of femininity, sexual identity, voyeurism, and oppression in cultural representations. The earliest works, resembling black-and-white film stills, present Hollywood-fabricated heroines. Works from the early 1980s, in color and enlarged in scale, become increasingly sinister, focusing on the pathology and victimization of women as represented in film and the media. In her most recent series, which centers on the tradition of protraiture, she exploits the grotesquerie of wealthy and powerful patrons through the extensive usee of prosttheses, stage makeup, and costumes (Day 69). (--Cf. John Berger's Ways of Seeing Chap 3.; Craig Owen, "The Discourse of Others," The Anti-Aesthetic. Ed. Hal Foster. pp. 65-90.
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 Untitile 1989 color photography, 63x42 |
 Untitled 1989 color photograph, 87x56 |
 Untitile 1989 color photography, 67.75x51.5 |
 Untitile 1989 color photography, 57x41 |
 Untitile 1989 color photography, 42.5x34 |
Day, Holliday T. Power: Its Myths and Mores in American Art. 1961-1991.
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