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Cindy Sherman

 

It is 1977 and Sherman, who is 23, and a graduate from the State College University of New York in Buffalo, is just beginning her new career in New York.  The echo of her work expands quickly due to her project’s efficacy and the theoretical problems it raises, at a moment when said problems are part of a general discussion. In fact, her work, which revolves around female stereotypes and new readings of them through representations of women in the mass media – especially cinema-, inserts her within a generation that from then on begins to establish itself within a context that is ready for change, beyond a form of art that would later be called “feminist”. The generation she belongs to –Levine, Prince, Kruger, among others- uses photography as a starting point, never as a point of arrival, as a field for experimentation, and as a revision of the medium itself, and of art, as a concept. Following in Warhol’s wake, these artists, who gained their maximum coverage in the 80s and were in fact called “warholites”, are closer to conceptual art than they are to photography, or, as critics said at the time, they are more artists than photographers, presenting an essential problem: the most important stuff happens before the shutter clicks.

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 Cindy Sherman


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