No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman's photography is part of the culture and …show more content…

For this reason alone, is why her work has been looked at for special by feminist who hold the view that "women do not hold theories, but tell stories." In the stills it is important to get a deep and true understanding that her use of photography is more integral to the performance then a photographic record of what took place. (Danto 10-11). Each of the stills is about the girl in trouble, but in the aggregate they touch the myth we each carry out of childhood, of danger, love, and security that defines the human condition. "Desire mixed with nostalgia fuels the allure of the Untitled Film Stills-desire for the woman depicted as well as desire to be that woman, during that time" (Thames and Hudson 4). Sherman said that the last thing she wanted her pictures to have was emotion. The still only provided a framework through which her deeper artistic impulses found expression (Danto 9). She was most interested in what a character was like when they were completely emotionless (Sherman 8). These black and white photographs were purposely grainy because Sherman wanted them to look like cheap publicity shots. While, Sherman takes most of her own photographs using a remote shutter-release, some of her pictures are also taken by her family and friends. This Untitled Film Series was first exhibited in 1995, in the Hirshborn Museum of Washington D.C. In each of the photographs, Sherman is depicted alone, "As a familiar but unidentifiable film