Turning the camera on herself in a game of extended role playing of fantasy Hollywood, fashion, mass advertising, and "girl-next-door" roles and poses, Sherman ultimately called her audience's attention to the powerful machinery and make-up that lay behind the countless images circulating in an incessantly public, "plugged in" culture.
Sexual desire and domination, the fashioning of self identity as mass deception, these are among the unsettling subjects lying behind Sherman's extensive series of self-portraiture in various guises.
Byrne says he wondered if the drug-fuelled headiness of dance music might feel similar to “the feeling one gets when one is in a powerful position”.
in Glen Ridge, New Jersey) is an American photographer and film director of Office Killer, best known for her conceptual portraits.I wasn't thinking in terms of precious prints or archival quality; I didn't want the work to seem like a commodity." "We’re all products of what we want to project to the world.Even people who don’t spend any time, or think they don’t, on preparing themselves for the world out there - I think that ultimately they have for their whole lives groomed themselves to be a certain way, to present a face to the world." "Everyone thinks these are self-portraits but they aren’t meant to be.Sherman became interested in the visual arts at Buffalo State College, where she began painting.Frustrated with what she saw as the medium's limitations, she abandoned the form and took up photography.I harmonize: I work in a bookstore, people love it; three months out and it’s still a bestseller. David Byrne cameos as himself (yes, the man is in print, on film, in vinyl and MP3, on tour, and on t-shirts this year).