For Cindy Sherman, photography allowed her to work alone with her ideas and to try on different personae and see how these translated into a flat photographic image. Rather than having a specific political intent, Sherman initially seems to have been more, and quite narcissistically, interested in the effect of changing herself temporarily, knowingly, ironically.
'Even though I have never actively thought of my work as feminist or as a political statement, certainly everything in it is drawn from my observations as a woman in this culture. And a part of that is a love-hate thing - being infatuated with makeup and glamour and detesting it at the same time. It comes from trying to look like a proper young lady or look as sexy or as beautiful as you can make yourself, and also feeling like a prisoner in that structure.' Cindy Sherman 1997
Untitled film still 1979
gelatin silver photograph
17.0 x 23.2 cm image; 20.3 x 25.3 cm sheet
Signature & date
Signed and dated c. verso, ink "Cindy Sherman 1979".
Mervyn Horton Bequest Fund 1986
Not on display
© Courtesy Cindy Sherman and Metro Pictures
Shown in 5 exhibitions
Acquisitions from the Komon, Salkauskas and Horton Funds, Art Gallery of New South Wales, Sydney, 05 May 1987–31 May 1987
International works from the permanent collection, Art Gallery of New South Wales, Sydney, 12 Jan 1991–14 May 1991
Great gifts, great patrons, Art Gallery of New South Wales, Sydney, 17 Aug 1994–19 Oct 1994
Read my Lips, National Gallery of Australia, Parkes, 06 Jun 1998–09 Aug 1998
Pop to popism, 01 Nov 2014–01 Mar 2015
Referenced in 4 publications
George Alexander, Contemporary: Art Gallery of New South Wales Contemporary Collection, 'Popism and screen culture', pg.204-245, Sydney, 2006, 240 (illus.).
Art Gallery of New South Wales, Great gifts, great patrons: an exhibition celebrating private patronage of the Gallery, Sydney, 1994. no catalogue numbers
Christie's New York, Christie's New York: Contemporary, New York, 20 May 1999, 97 (illus.). cat.no. 241
Anneke Jaspers, Pop to popism, 'Art of the second degree: post pop and popism', pg.235-279, Sydney, 2014, 237, 254, 255 (illus.).