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
type C photograph
40.0 x 59.9 cm image; 50.6 x 60.8 cm sheet
Signature & date
Signed c. verso, ink "Cindy Sherman". Not dated.
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
Review: works by women from the permanent collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 08 Mar 1995–04 Jun 1995
Read my Lips, National Gallery of Australia, Canberra, 06 Jun 1998–09 Aug 1998
Referenced in 3 publications
Great gifts, great patrons: an exhibition celebrating private patronage of the Gallery, Sydney, 1994. no catalogue numbers
Review: works by women from the permanent collection of the Art Gallery of New South Wales, "Women Artists in the Contemporary Collection", Victoria Lynn, p13-15, Sydney, 1995, 15, 26.
Read My Lips, Parkes, 1998, frontispiece (colour illus.), 54. fig.no. 1