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Sherman’s interest in the construction of femininity and the mass circulation of images informs much of her work; the projects that take fashion as their subject illustrate the artist’s fascination with fashion images but also her critique of what they represent.

magazine, these send-ups of men’s erotic magazines depict a variety of women in different emotional states, ranging from terrified to heartbroken to melancholic.

In fall 1977, Sherman began making pictures that would eventually become her groundbreaking “Untitled Film Stills.” Over three years, the series (presented here in its entirety) grew to comprise a total of seventy black-and-white photographs.

Taken as a whole, the “Untitled Film Stills”—resembling publicity pictures made on movie sets—read like an encyclopedic roster of stereotypical female roles inspired by 1950s and 1960s Hollywood, film noir, B movies, and European art-house films.

The photographs are at once seductive and anxiety-inducing; the saturated palette contributes to the intensity and the alienation of the women, heightening the drama of each picture.

But while the characters and scenarios may seem familiar, Sherman’s “Stills” are entirely fictitious; they represent clichés (career girl, bombshell, girl on the run, vamp, housewife, and so on) that are deeply embedded in the cultural imagination.

While the pictures can be appreciated individually, much of their significance comes in the endless variation of identities from one photograph to the next.

This large-scale photographic mural is on view at Mo MA for the first time in the United States.

As in most of her work, here Sherman is both model and photographer, but instead of using makeup or prosthetics to alter her appearance, she has transformed her face digitally, elongating her nose, narrowing her eyes, or creating smaller lips.

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