What might seem like an exercise in fantasy, a professional game of dress-up, ends up poignantly conveying a sense of isolation, perhaps inadvertently encapsulating the limited options available to women in Hollywood; the feminist interpretation is there if you want it – Sherman shows how easily you can knock up a pre-fab female stereotype with a bit of make-up and a wig, and how readily the spectator will accept and participate in the construction and reinforcement of ideals of femininity. The staging is never glamorous, and always a little cheap and sparse, as if Sherman’s characters have been left stranded, out of time and out of context after the collapse of the studio system. From one picture to the next, she is troubled, locked in a private struggle with a story which is never explained to us; Sherman is invariably looking off screen, rarely returning the camera’s gaze, both exposed to us and simultaneously inaccessible, distant. In that sense, they offer a beautifully succinct summary of our tendentious relationship with the people we see on the screen above us at the cinema.
- Read an interview with Sherman in New York magazine to mark the 40th anniversary of the ‘Film Stills’ project.
- Exhibition summary from the Museum of Modern Art, New York, 1997.
- Biography and artworks by Cindy Sherman at the Art History Archive.