Cindy Sherman is a twentieth century woman with unique talent. She goes beyond her unusual photography and confronts gender stereotypes throughout her time. Her “untitled film stills” are her most famous contribution to her artwork. A majority of Sherman’s works are poses of herself as other women by wearing a disguise. These women Sherman disguised herself as, did not have names or were not real women, they were a specific type of character that Sherman wanted to share to the public. Many critics question whether or not she is really a photographer. While doing my research, I have found that Cindy Sherman is more than a photographer, she is a woman with intense desires, dreams, and illusions, that stimulate the imagination of most human beings. In contrast to painters, Sherman uses her camera as the medium. Artists use paint and brushes to portray their ideas. Sherman does not perceive herself as the subject in the photographs, but as the model in disguise. “None of Cindy Sherman’s images is of Cindy Sherman as. They are of The Girl for whom Cindy posed.” (Cindy Sherman p.10) At best they are of Cindy posing as other identities of women she

In conclusion, Cindy Sherman is more than an “artist,” she has influenced and affected men and women all over the world. By her being ever so independent and powerful makes her a courageous woman to have come so far in this world we live in today.

From the years 1977 to 1980, Sherman’s career was mostly black and white photo stills. Later on Sherman began color photographs. These portrayed various female roles. The photographs above are examples of Sherman’s work between 1977 and 1980. Between 1983 and 1984, Sherman became interested in “fashion photos.” These photos were the views of how Sherman believed models were looked upon and interpreted. Her goal was to stress the dominance of femininity. One of the most unusual images from this period is her 1983 Untitled #122. Sherman wears a platinum blonde wig and shoulder-padded overcoat. The long blonde hair covers Sherman's face, one blood-shot eye is partially visible, her arms are by her side, and fists are tightly clenched. The untitled photograph provides no real clues to what the woman is supposed to represent and therefore forces the viewers to find their own answers.

connects with. “Sherman’s face is a neutral base on which she inscribes the countless faces of The Girl in her myr

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