Lot Essay
"Compared to the movie stills, these images have an edge of almost documentary-like realism. They hint at a codified style of pulp illustration, but still remain realistic...
In place of the extreme variety of her previous work, Sherman seems here to work for a consistency of psychological tone, as if to show how many situations and characters can feel almost nearly alike, how many different ways the same feeling, or variations on it, can come up for different women, regardless of age, intelligence, or background. (The classlessness of these images, after the clear codification of the movie-stills women, is another interesting issue.)
The psychological weight of the work is so direct that at times it seems to free the viewer to see very clearly the formal manipulations which are at it's source. Sherman makes you understand the components of photography with a particular bluntness which is one of her trademarks. The roles of color, light, cropping, space, eye contact (or lack of it) are continually stated and restated and we read them just as we do details of clothing, hairdo, posture, flooring. Despite all this the effect is not simply didactic; everything is both laid out and convincingly, ingenuously synthesized." (R. Smith, Review:Cindy Sherman, Village Voice, New York, November 18, 1981).
In place of the extreme variety of her previous work, Sherman seems here to work for a consistency of psychological tone, as if to show how many situations and characters can feel almost nearly alike, how many different ways the same feeling, or variations on it, can come up for different women, regardless of age, intelligence, or background. (The classlessness of these images, after the clear codification of the movie-stills women, is another interesting issue.)
The psychological weight of the work is so direct that at times it seems to free the viewer to see very clearly the formal manipulations which are at it's source. Sherman makes you understand the components of photography with a particular bluntness which is one of her trademarks. The roles of color, light, cropping, space, eye contact (or lack of it) are continually stated and restated and we read them just as we do details of clothing, hairdo, posture, flooring. Despite all this the effect is not simply didactic; everything is both laid out and convincingly, ingenuously synthesized." (R. Smith, Review:Cindy Sherman, Village Voice, New York, November 18, 1981).