Best 43 quotes of Cindy Sherman on MyQuotes

Believing in one’s own art becomes harder and harder when the public response grows fonder.

Dreamers are those who have achieved in love and life, because it is a dream that got them there.

Early in my career, a critic said that I needed to "explain" the irony in my work, suggesting that I needed to add text next to the images to help people understand what I was trying to say. At first I was dismayed that I wasn't making work with a clear enough message. That's when I realized that that was the exact opposite of what I wanted to do - that I wasn't responsible for a misinterpretation of my work, that there should be some ambiguity to it. They either got it, or they didn't.

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.

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 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.

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 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 didn't have any interest in traditional art.

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 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'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.

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.

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.

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.

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.

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.

I'm good at using my face as a canvas… 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.

Inconsiderate, rude behavior drives me nuts. And I guess the inconsiderate rudeness of social ineptitude definitely fuels my work.

In horror stories or in fairy tales, the fascination with the morbid is also, at least for me, a way to prepare for the unthinkable… That’s why it’s very important for me to show the artificiality of it all, because the real horrors of the world are unmatchable, and they’re too profound.  It’s much easier to absorb – to be entertained by it, but also to let it affect you psychologically – if it’s done in a fake, humorous, artificial way.

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 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.

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 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.

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 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 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.

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.

My ideas are not developed before I actually do the pieces.

My message for people to not take anything for granted, to respect what they might not understand.

[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.

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.

One reason I was interested in photography was to get away from the preciousness of the art object.

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.

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.

So many things suddenly made sense for the clowns, for the whole idea. I’d been going through a struggle, particularly after 9/11; I couldn’t figure out what I wanted to say. I still wanted the work to be the same kind of mixture – intense, with a nasty side or an ugly side, but also with a real pathos about the characters – and clowns have an underlying sense of sadness while they’re trying to cheer people up. Clowns are sad, but they’re also psychotically, hysterically happy.

The models have always been the least interesting thing about fashion.

The still must tease with the promise of a story the viewer of it itches to be told.

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.

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.

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.