Cindy Sherman

In the digital age notions of identity are constantly being explored. Social media requires its users to present themselves in a mediated manner. Not everything is (or can be) revealed, but only that which is selected, thereby creating a public persona that may change by the day or hour.

The concerns - of how we present ourselves and what it means for our sense of self - may be ubiquitous now in the selfie obsessed 21st century, but when Cindy Sherman began her exploration into concepts of identity in the mid-1970s she was a true pioneer in this field.

Fresh out of art school she created her most iconic series of images, the ‘Untitled Film Stills’ (1977-80) a series of photographs that questioned ideals of femininity. At this exhibition all 70 images are on display.

In these pictures Sherman presents herself in instantly recognisable female roles from the movies (femme fatale, lonely house wife, heartbroken lover). None of these photographs are based on any specific films but they all seem so familiar, suggesting the predictable and expected role of the female in front of the lens. By masquerading in all these roles Sherman teared down the idea that any reflected a truth. To see all the 'Untitled Film Stills' displayed side by side is an incredible (and rare) sight, and one that is worth the exhibition price alone.

Sherman has always had full control of all aspects of her art. She carefully chooses the clothes and props, and then she applies the make-up in just the right way to reflect whichever character she is playing. Once everything has been considered, she then captures the photograph that she needs to display this particular persona.

Sherman is extremely skilled in noticing the nuances that add up to create identity. Sometimes it’s achieved through a particular stance, or a facial gesture - it’s all about the combination of details.

At the National Portrait Gallery’s retrospective we can see the trajectory of Sherman’s artistic journey, from her art school projects right through to contemporary times, when her current status marks her out as one of the world’s most successful photographic artists. The images get larger and the costumes and characters get more and more outlandish. The exhibition starts with small, subtle black and white photographs and leads us on a journey that includes large scale colour pictures of warped fairy story characters and deranged clowns.

All the time (regardless of how much strange prosthetic make-up or bizarre costumes are worn) Sherman herself remains at the centre of the imagery. The other constant element to her retrospective is that sharp, inquisitive mind - always challenging ideas of identity whilst never revealing anything about her own. Consequently this is a revealing, but yet mysterious, collection of art.

Exhibition runs till 15th September at the National Portrait Gallery