Cindy Sherman

New York Magazine

Jerry Saltz

Coming into the art world of the seventies, she found more bad fathers: In MoMA's excellent catalogue she speaks to John Waters about being "disgusted … with the art world … the boy artists, the boy painters."

The New York Times

Roberta Smith

At many points throughout this dense, often exciting show .… we are confronted by an artist with an urgent, singularly personal vision, who for the past 35 years has consistently and provocatively turned photography against itself. She comes across here as an increasingly vehement avenging angel waging a kind of war with the camera, using it to expose what might be called both the tyranny and the inner lives of images, especially the images of women that bombard and shape all of us at every turn.
Although not one of her images qualifies, exactly, as a self-portrait, the Modern's show is above all an inspiring portrait of the artist ceaselessly at work, striving never to repeat herself, always trying to go deeper and further in one direction or another. Her self - remorseless, generous, imaginative and shrewd - is everywhere.

ARTnews

Barbara Pollack

Ever since her student efforts in the 1970s, she has been exploring the complex territory of constructing a self for the camera - a focus that placed her squarely at the forefront of postmodern theory. Nevertheless, it is still surprising to see the great variety of work she has produced from this single-minded inquiry. Her landmark achievement, "Untitled Film Stills," created between 1977 and 1980, surveys the history of women in cinema, using little more than makeup and wigs.

Artforum

Thomas Crow

No feature of a Sherman image is there by accident or as a matter of convenience. These grand backdrops are legacy monuments of the older plutocracy, left as a democratic inheritance, belittling the imagination and attainments of the present-day .01 percent. As her own works have come to count among the prized trophies of that demographic, Sherman seeds into these images a grandeur belonging to a past that no private individual can now claim or master.

The New York Review of Books

Sanford Schwartz

Cindy Sherman has explored different kinds of photography, but she has become one of the most lauded artists of her generation for her photographs of her impersonations. Since she arrived on the scene, in a 1980 exhibition, when she was in her mid-twenties, she has come before her own camera in the guise of hundreds of characters, and as an impersonator--which in her case means being a creator of people, and sometimes people-like creatures, who we encounter only in a single photograph--she has been remarkably inventive.

The Art Newspaper

Liz Jobey

Eva Respini, the curator of the MoMA exhibition and the museum's curator of photography, begins her catalogue essay with some of the misreadings that have dogged Sherman's work, and lists the sucessive waves of critical theories that have claimed the artist as their own, including "postmodernism, feminism, psychoanalytic theories of the male gaze and the culture of the spectacle".

Choice

M. R. Vendryes

This overview is the most comprehensive to date because it clearly documents transformations in [Cindy Sherman's] well-known serial self-portraiture. Sherman is celebrated as the quintessential conceptual artist who uses photography. In an essay, exhibition curator Respini describes Sherman as an artist who fully represents today's prevalent "culture of the cultivated self." More adeptly than past writers, Respini firmly situates Sherman among contemporaries like Eleanor Antin, Hannah Wilke, Suzy Lake, and Adrian Piper...Highly recommended.

American Photo

A more than 30-year survey of Sherman's roles in front of the camera (movie star, housewife, aristocrat) and behind it (photographer, art director, stylist).