Cindy Sherman
"Sherman emerged fully formed on the New York art scene in the early 1980s with a series of untitled film stills. It was a brilliantly novel concept – grainy shots of movies that never existed, created with such panache and knowing that you felt they must do. She was a dream for cultural studies professors the world over. Few artists embraced their contradictions so easily. She took photos of herself that were anything but self-portraits; photos that stuck two fingers at the then received wisdom that the camera never lies – her camera always lied. And, through her deceits, she looked for truths about identity, vulnerability and power. The feminists claimed her as theirs, as did the postmodernists, the post-structuralists, the post-everythings. But there was nothing clean or prescriptive about her art. Sherman's work has always been a vibrant mush of ideas."
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