“If anything, I feel more troubled by feeling guilt for being successful because most of my friends are not.”
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Cynthia Morris Sherman is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters.
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entertainment · American photographer (born 1954) · photographer · film director · women's rights activist · director · artist · cinematographer · filmmaker · also Cindy Sherman, Cynthia Morris Sherman, Sherman
Born 19 January 1954 · Q229455
66 published statements · 0 followers
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“If anything, I feel more troubled by feeling guilt for being successful because most of my friends are not.”
“s managed to star in her pictures without giving anything away. She pauses and smiles.”
“s not since her student days that the work has been about Cindy Sherman. Then, she photographed herself nude.”
“And we might still get back together – I don”
“s rubbish with her camera, always forgets to take it on holiday, and she segues into a story about another ex, who”
“I probably went around going,”
“s rooted in the confusions of her childhood, and the political evolution of the 1960s and 1970s. As a teenager, she was obsessed with appearance. She can”
“It’s funny. My family was always dead against therapy, it was like, we don’t need any help! We are strong, we can get through things! And, boy, could they have used it…”
“But of course you are looking at yourself in reverse so you never actually know what you look like. Photography can be similar. I remember an early boyfriend. I thought: he is just so handsome, and I would show a picture to somebody and they would not see it at all. In a still photo you only sometimes get the essence of a person. I have always been fascinated by why that happens.”
“but I guess it definitely was.”
“My sister got married when she was 16 and I was a baby when she left the house; she is 15 years older than me, she started a cooking school. I have no recollection of her or my oldest brother living at home. One brother killed himself when he was 27. My other brother, he is just retired now. He did computer stuff.”
“He was just so selfish, couldn’t appreciate the family he had, the loving wife he had. It was ultimately more pathetic than anything. When we children got together after he died we found that the thing we missed most was telling each other the mean story that had happened to us that week: like what did he do to you? I would be like, ‘He wrote me this horrible letter.’ It was ridiculous, the things he would do.”
“I like these characters. They have been through a lot. And I still have ideas where they could go.”
“Sometimes it feels strange at a gallery opening and I feel in awe of the sudden attention. Mostly when you start getting a response from people about new work you feel at least you have dodged another bullet and it’s OK.”
“If anything I think I was coming out of the tradition of artists who used their own body, like Chris Burden or Bruce Nauman . That tradition of conceptual performance.”
“It was strange because it was like I wasn’t part of their family when I arrived because they had already existed for so many years before I came along.”
“Now it is not like adding wrinkles to look older; it is using the wrinkles I already have to say something else. What is disturbing is not seeing more lines on my face but seeing that the range of possibilities of what I can do is much more limited. I guess I could go for looking like I was 100 if I wanted to, but looking younger than 50 is now a stretch.”
“and of course you don’t actually see that many portraits of older women or old women in fashion and film. So that’s part of it.”
“You’d see someone wearing a tiara upside on her head or something and the extraordinary makeup.”
“But there have been times when I have just caught a glimpse of a reflection and thought: that is not me. That is somebody else. I love it when that happens. I am star-struck that this apparition has been created.”
“For a long time the characters were to ask those same questions: maybe this is who I want to be?”
“It was like: don’t leave me behind, you guys, remember I am still here!”
“But I don’t want to have my own narrative and force it on to them. And it shouldn’t seem so real that it looks like it was shot in a studio today. I want it to transcend time somehow.”
“I was like, do they really like the work? Well, let’s see them put this over the dining table – I had fun making those pictures.”
“questioning all the time, why am I in these photos? What is my need for that?”
“working my way out of the photographs: I went from being a reflection in a mirror to a fuzzy figure in the background to a body lying beside ants and fake blood. And then I was completely out of the photograph when I was using these mannequins and dolls and so on.”
“the look of a wig or the feel of a piece of material”
“In content I wanted a man opening up the magazine suddenly look at it with an expectation of something lascivious and then feel like the violator that they would be looking at this woman who is perhaps a victim. I didn”
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“I never thought I was acting. When I became involved with close-ups I needed more information in the expression. I couldn”
Text from Wikipedia, available under CC BY-SA 4.0.
elperiodic.com: Más de 500 obras para recorrer un siglo de arte: el IVAM reúne de Duchamp a Cindy Sherman en su colección permanente
Cindy Sherman exhibited Tapestries at Fotografiska Stockholm, presenting a series of tapestries based on her digitally altered Instagram selfies, marking her first major exploration of this medium
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At the Goulandris Museum of Cycladic Art, Athens, Sherman's first exhibition in Greece was held, gathering together over a hundred of her early works
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Sherman served on the jury that chose Sarah Lucas as first winner of the New Museum's $400,000 Hostetler/Wrigley Sculpture Award
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Awarded Time 100 (2022).
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Awarded Wolf Prize in Arts (2020).
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The National Portrait Gallery, London, organized a major retrospective of Sherman's works from the mid-1970s to the present
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It was shown at the Spruth Magers gallery in Berlin, Germany, and at the Wexner Center for the Arts in Columbus, Ohio
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Collaborated on a "selfie" project with W Magazine that was based on the concept of the "plandid", or "the planned candid photograph"
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Awarded Praemium Imperiale (2016).
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At the Metro Pictures Gallery in New York City, and also at the Broad Museum in Los Angeles
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After a sabbatical from her studio which was spent "coming to terms with health issues and getting older," Sherman produced and staged her first photo gallery in five years
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Sherman was invited to organize a show within that year's Venice Biennale
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The Museum of Modern Art mounted Cindy Sherman, a show that chronicled Sherman's work from the mid-1970s on and include more than 170 photographs
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Joined Yoko Ono and nearly 150 fellow artists in the founding of Artists Against Fracking, a group in opposition to hydraulic fracturing to remove gas from underground deposits
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Presented a photographic mural (2010–11) accompanied by films selected by Sherman
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Sherman collaborated with Anna Hu on a design for a piece of jewelry
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Sherman's nearly six foot tall chromogenic color print Untitled#153 (1985), featuring the artist as a mud-caked corpse, was sold by Phillips de Pury & Company for $2
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Paul Hasegawa-Overacker and Tom Donahue completed a feature documentary, Guest of Cindy Sherman, about the former's relationship with Sherman
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Sherman was included in the seminal show "The Pictures Generation, 1974–1984" at the Metropolitan Museum of Art
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Starring ex-husband Michel Auder, which won a New Vision Award
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Sherman created a series of fashion advertisements for designer Marc Jacobs
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Bought songwriter Marvin Hamlisch's 4,200-square-foot house on 0
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Awarded Hasselblad Award (1999).
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Starring Jeanne Tripplehorn, Molly Ringwald and Carol Kane
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Awarded MacArthur Fellows Program (1995).
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Produced the Post Card Series for Comme des Garçons for the brand's autumn/winter 1994–95 collections in collaboration with Rei Kawakubo
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Making her stepmother to Auder's daughter, Alexandra, and her half-sister Gaby Hoffmann
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Fashion designer and retailer Dianne Benson commissioned her to create a series of advertisements for her store, Dianne B
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Sherman began her Pink Robes series which includes Untitled #97, #98, #99 and #100
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Sherman began taking shots in outdoor locations around the city
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At Robert Longo's family beach house on the north fork of Long Island
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For the Bus Authority for display on a bus
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Together with Longo, Charles Clough and Nancy Dwyer, she created Hallwalls, an arts center intended as a space that would accommodate artists from diverse backgrounds
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Sherman enrolled in the visual arts department at Buffalo State University, where she majored in painting
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Born 1954-01-19.
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In Glen Ridge, New Jersey, the youngest of the five children of Dorothy and Charles Sherman
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