Cindy Sherman

Metro Pictures/Vivian Horan Fine Art

Cindy Sherman’s self-portraits exist in a referential never-never land; neither pastiche nor camp, they lack the specificity of referent so dear to both. Her early “film stills,” in which she dons various outfits, have less to do with fashion and the languages of representation that serve it, and more to do with the use of clothing as props. Creating characters out of sophisticated forms of dress-up (like the horsey gal she conjures out of jodhpurs and a polka-dot sweater in Untitled #118, 1983), Sherman “regresses” in front of the camera. Crucial to her oeuvre, these “fashion photos” constitute her first big foray into her own imagination, and from this point on her work leaves the careful critical positioning of the “film stills” to delve into the fantastical.

In her most recent work, Sherman (like Laurie Simmons and outsider Surrealist Hans Bellmer) photographs things created by people

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