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PRINT March 2003

’80s THEN

Cindy Sherman

DAVID FRANKEL: For many people, you seem to crystallize what was new in the art of the ’80s. Did you intend to make that kind of departure? Or did you feel connected to ’70s art?

CINDY SHERMAN: I didn’t set out to establish an alternative. No one really did—expectations were a lot lower than you see with people coming out of art schools today. I did want to do something different; I was bored by what was going on in art and particularly in painting, but I didn’t think I was actually going to make a difference. We all would have been happy just to have a show somewhere.

Laurie Simmons, Cindy Sherman, and Sarah Charlesworth, Long Island, mid- to late ’80s.


In the late ’70s and into the ’80s I was aware that the painting and sculpture world looked down on people who used photography. At the same time, I felt that the photo world looked down on those who had one foot in the art world. So I was outside both worlds, and I thought of my work as art, but not “high” art. Which

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