One of Cindy Sherman’s pictures went for $3.9m in 2011. At the time, it was the most expensive photograph ever sold From the archive of 1843mag
n 1983 Cindy Sherman took a photograph of herself that she called “The Artist in Her Studio”. Sitting in a chair surrounded by photographic equipment, she appears to be the embodiment of honest cheerfulness in a plain white shirt and scant make-up. But look again and you can see that she is wearing a blonde wig, chosen, presumably, in preference to another that has been discarded on the floor.
As we began to talk at a large wooden table, my eye was drawn to evidence of her darker arts. I spied a shelf of plastic and wax heads at the far end of the room. Among them was the head of a boy with orange hair whose face was hideously scratched and blistered. “Did he come like that?” I asked her. “No, I made him like that,” she replied warmly. Nearby were cupboards full of neatly categorised body parts: bums and breasts, teeth and hands, a tray full of fetuses.
As a child Sherman filled her time by drawing and painting meticulous likenesses. Her father liked tinkering with cameras but the family never once visited a museum or gallery. When she went to study art at university in Buffalo in upstate New York in 1972, she knew nothing about the contemporary scene. Her college boyfriend Robert Longo, a confident, ambitious art student, gave her a crash course.
Sherman has always been suspicious of her own popularity, so her career has played out in a sequence of swerves. She has followed moments of triumph – a pricey sale or a sell-out show – with an uncompromising body of work deliberately designed to frustrate or disgust viewers. She hates the idea of being seen as a digestible artist, one whose work slips down too easily. “Every time I have been successful,” she says, “I have immediately felt I have to do something to counteract that.
Her reaction was to raise the middle finger. From 1983, around the time she married fellow artist Michel Auder, she began to create pictures awash with rotten cupcakes and puddles of puke. She gradually disappeared from the frame, showing herself in one photograph as just a tiny, anguished figure reflected in a pair of sunglasses. Eventually she vanished altogether.
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