Sherman's work is central in the era of intense consumerism and image proliferation at the close of the 20th century.
#13TH FILM STILL SERIES#
Sexual desire and domination, the fashioning of self-identity as mass deception, these are among the unsettling subjects lying behind Sherman's extensive series of self-portraiture in various guises. Turning the camera on herself in a game of extended role-playing of fantasy Hollywood, fashion, mass advertising, and "girl-next-door" roles and poses, Sherman ultimately called her audience's attention to the powerful machinery and make-up that lay behind the countless images circulating in an incessantly public, "plugged in" culture. Sherman sought to call into question the seductive and often oppressive influence of mass-media over our individual and collective identities. At first painting in a super-realist style in art school during the aftermath of American Feminism, Sherman turned to photography toward the end of the 1970s in order to explore a wide range of common female social roles, or personas. She is a key figure of the " Pictures Generation," a loose circle of American artists who came to artistic maturity and critical recognition during the early 1980s, a period notable for the rapid and widespread proliferation of mass media imagery. Cindy Sherman is a contemporary master of socially critical photography.
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