Nowadays, with digital printing, it's so easy to make everything perfect, which is not always a good idea. Sometimes the mistakes are really what make a piece.— Cindy Sherman
The most devotion Cindy Sherman quotes that will inspire your inner self
Everyone thinks these are self-portraits but they aren't meant to be.
I just use myself as a model because I know I can push myself to extremes, make each shot as ugly or goofy or silly as possible.
The still must tease with the promise of a story the viewer of it itches to be told.
I didn't want to make 'high' art, I had no interest in using paint, I wanted to find something that anyone could relate to without knowing about contemporary art. I wasn't thinking in terms of precious prints or archival quality; I didn't want the work to seem like a commodity.
I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear.
I am always surprised at all the things people read into my photos, but it also amuse me. That may be because I have nothing specific in mind when I'm working. My intentions are neither feminist nor political. I try to put double or multiple meanings into my photos, which might give rise to a greater variety of interpretations.
If I knew what the picture was going to be like I wouldn’t make it.
It was almost like it was made already – the challenge is more about trying to make what you can’t think of.
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.
The way I see it, as soon as I make a piece I’ve lost control of it.
The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff.
[My work is] maybe about me maybe not wanting to be me and wanting to be all these other characters. Or at least try them on.
Inconsiderate, rude behavior drives me nuts.
And I guess the inconsiderate rudeness of social ineptitude definitely fuels my work.
People think because it's photography it's not worth as much, and because it's a woman artist, you're still not getting as much - there's still definitely that happening. I'm still really competitive when it comes to, I guess, the male painters and male artists. I still think that's really unfair.
I didn't think of what I was doing as political.
To me it was a way to make the best out of what I liked to do privately, which was to dress up.
I think people are more apt to believe photographs, especially if it’s something fantastic. They’re willing to be more gullible. Sometimes they want fantasy. Even if they know it’s fake they can believe anything. People are accustomed to being told what to believe in.
One reason I was interested in photography was to get away from the preciousness of the art object.
I want[ed] to make a show of really big pictures, because you see male artists doing it all the time. It just seemed like such a big egotistical thing. I thought, 'I don't know that many women that really do that.... Damn it, I'm gonna do that-make this really big picture.'
I can't work without it [music]. And it has to be the right kind, because if it's not then I get into a bad mood. I work with a remote so that I can change CDs instantly if I need to.
I don't analyze what I'm doing. I've read convincing interpretations of my work, and sometimes I've noticed something that I wasn't aware of, but I think, at this point, people read into my work out of habit. Or I'm just very, very smart.
The models have always been the least interesting thing about fashion.
Every time you have to come up with a new body of work for a new show, you're aware that people are just ready to rip you apart, they're just waiting for you to fall or make the slightest trip up.
I am fine, though it is hard to think of what kind of work to make at this point, other than decorative, escapist or abstract. I suppose I'll explore one or all of these things.
I didn't have any interest in traditional art.
People are always trying to find the next groovy thing, and it hasn't gone back to painting... I'd like it to go back to painting. I'm sick of all this photography and video. There's so much of it, it's almost annoying.
Being able to make a living doing something one truly loves to do - is my definition of success.
Dreamers are those who have achieved in love and life, because it is a dream that got them there.
I can be fearlessly strong at times to protect an inner frailty.
I'll see a photograph of a character and try to copy them on to my face.
I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
I’m trying to make other people recognize something of themselves rather than me.
I'd never even thought about compromise when I worked in my studio.
The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.
My message for people to not take anything for granted, to respect what they might not understand.
I'm really just using the mirror to summon something I don't even know until I see it.
I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead.
I think I always resented the fact that people thought I was trying to entertain them with my multifaceted, chameleonlike character changes. Although I liked doing that, I wasn't out to fool people and say 'Guess which one is me.'
I wonder how it is that I’m fooling so many people, I’m doing one of the most stupid things in the world…and people seem to be falling for it.
I don't think I can see the world through other people's eyes, but I can capture an attitude or a look that makes others think I can. I have an appreciation for why people choose to look the way they do. But I can't know what they experience.
When I do work, I get so much done in such a concentrated time that once I’m through a series, I’m so drained I don’t want to get near the camera.
Believing in one’s own art becomes harder and harder when the public response grows fonder.
I wanted to create something that people could relate to without having read a book about it beforehand.
I was feeling guilty in the beginning;
it was frustrating to be successful when a lot of my friends weren't. Also, I was constantly being reminded of that by people in my family making jokes.
Some people have told me they remember the film that one of my images is derived from, but in fact I had no film in mind at all.
My dad was such a bigot. He was a horrible, self-centred person. He was really racist and he'd talk about the Jews and blacks and Catholics even.
I was supporting myself, but nothing like the guy painters, as I refer to them.
I always resented that actually.. we were all getting the same amount of press, but they were going gangbusters with sales.
I like making images that from a distance seem kind of seductive, colorful, luscious and engaging, and then you realize what you're looking at is something totally opposite. It seems boring to me to pursue the typical idea of beauty, because that is the easiest and the most obvious way to see the world. It's more challenging to look at the other side.