Cindy Sherman

Cindy Sherman seems to use her body as a mean to ridicule and criticise the modern woman’s place in life. Picture upon picture she plays different women, or at least the stereotype of one. She’s quickly judged as a feminist artist while, in fact, Cindy claims not to want to make statements. Yet this doesn’t mean her work isn’t feminist: “The work is what it is and hopefully it’s seen as feminist work, or feminist-advised work, but I’m not going to go around espousing theoretical bullshit about feminist stuff”. In contrary to many modern artists she simply lets her work speak for itself. Not only is she averse to explaining the symbolism in her work but she also succeeds in letting us understand at first glance what her works is about. Even for the inerudites among us! And that’s why I love her.

In Untitled Film Stills she seems to have blatantly copied a scene of a well-known movie yet she has improvised everything. What attracts me most to this series is that Cindy captivates an entire story of a could-be film in one single shot.



One of my favourite series on the other hand is the Centerfold/Horizontals in which she exposes girls as the most sensitive and feeble beings on the planet. The emotion displayed is absolute divine eye-candy for me.



And of her most recent work I greatly enjoy the rather hilarious yet still heart-catching Hollywood/Hampton Types series.



Yet what the series I love most must be History Portraits/Old Masters in which she models as the most famous works of art.



Maybe it’s because she now did blatantly copy everything. I adore the colours, composition and emotion displayed but I’m afraid I only appreciate the meaning behind it.