Untitled film still #48, Cindy Sherman (1979)

Cindy Sherman primarily works within the medium of photography, utilising self-portraiture to explore themes of identity and representation. Through her artistic practice, she employs costumes, props, and makeup to assume various roles and personas, challenging conventional notions of gender, beauty, and societal expectations (Sherman, 2011). Her photographs serve as a critical examination of the construction of narratives and stereotypes in popular culture.

At the core of Cindy Sherman's work lies a consistent exploration of identity, particularly female identity, and its portrayal in visual culture. Through her self-portraits, she confronts the notion of fixed identities and the performative nature of gender. Sherman's oeuvre disrupts traditional gender roles and presents a nuanced understanding of the complexities of female subjectivity, while also interrogating the influence of media on shaping these identities (Jones, 2017).

Scholars have employed various theoretical frameworks to contextualise Cindy Sherman's work. Feminist theory has been instrumental in analyzing her deconstruction of gender roles and representations. Postmodernism provides a lens through which to understand her appropriation of cultural imagery and the blurring of reality and fiction. Additionally, performance theory offers insights into the performative aspects of her self-portraits and the notion of identity as a constructed act (Butler, 1990; Lippard, 1997).

Within the realm of contemporary art, several artists share conceptual similarities with Cindy Sherman's work:

a) Yasumasa Morimura appropriates iconic images from art history and popular culture, inserting himself into the scenes to challenge stereotypes and cultural norms, much like Sherman (Morimura, 2007).

b) Nikki S. Lee immerses herself in various subcultures, assuming different identities to explore issues of identity construction, belonging, and performance, paralleling Sherman's investigation of self-presentation (Lee, 2011).

c) Lorna Simpson, through photography and mixed media, examines race, gender, and identity. Her work, like Sherman's, employs text and image juxtapositions to prompt critical reflections on representation and power dynamics (Simpson, 2006).

Artistic Contexts: Cindy Sherman's work can be situated within three artistic contexts:

a) Photography as Fine Art: Sherman's use of photography challenges the medium's boundaries, elevating it to the realm of fine art. Her deliberate construction of images and engagement with critical concepts positions her work as a significant contribution to contemporary photography (Cotton, 2014).

b) Postmodernism and Appropriation Art: Sherman's artistic practice aligns with postmodernist principles, challenging notions of originality and authorship through appropriation and recontextualisation of cultural imagery (Foster, 1993).

c) Feminist Art: Sherman's exploration of female identity and her critique of patriarchal representations resonate with feminist art movements. Her work contributes to a larger discourse on the representation and empowerment of women in art (Chadwick, 2012).

Social Contexts: Three dominant social contexts in Cindy Sherman's work are:

a) Gender and Feminism: Sherman's self-portraits engage with gender as a socially constructed identity, critiquing normative expectations and stereotypes. Her work contributes to ongoing dialogues surrounding feminism, challenging patriarchal structures and advocating for gender equality (Butler, 1999).

b) Representation and Media Influence: By deconstructing and recontextualising images found in popular culture, Sherman interrogates the power of media in shaping societal perceptions of beauty, femininity, and identity. Her work prompts viewers to critically examine the influence of media on their own understanding of self and others (Hooks, 1992).

c) Self-Exploration and Identity in the Digital Age: In an era of social media and curated online identities, Sherman's exploration of self-presentation and the performative aspects of identity resonates with contemporary social issues. Her work encourages individuals to reflect on the construction of their own identities and the impact of digital culture (Turkle, 2011).

The three fundamental frames of reference crucial to discussing Cindy Sherman's work are Photography, Identity/Representation, and Feminism. These frames encompass the medium she employs, the central theme of her artistic practice, and the socio-cultural context in which her work operates.

Untitled film still #2, Cindy Sherman (1977)

Untitled #96, Cindy Sherman (1981)

Within Cindy Sherman's extensive body of work, three notable sub-themes emerge:

• a) "Untitled Film Stills" (1977-1980): This series consists of photographs in which Sherman recreates scenes inspired by classic Hollywood films. By embodying various female characters, she scrutinises and challenges the stereotypical representations of women perpetuated by the film industry (Mangini, 2013).
  
• b) "Centerfolds" (1981): Sherman's "Centerfolds" series presents women in vulnerable poses, reminiscent of magazine centerfolds. However, her deliberate subversion of the male gaze empowers these women and questions the objectification of the female body in mainstream media (Westcott, 2012).
  
• c) "Clowns" (2003-2004): Sherman's exploration of clowns as subjects delves into the realm of disguise and performance. Through these photographs, she examines the dichotomy of humour and melancholy, shedding light on the masks individuals wear to navigate societal expectations and emotional experiences (Berg, 2019).
  

Untitled #414, Cindy Sherman 2003