Top 62 Quotes & Sayings by Cindy Sherman

I had to redo my last house after the pipes burst, and something was lost in the renovation. The soul of the old space was compromised.

I didn't have any interest in traditional art.

Quite often, I will do something and think, 'Oh, no, she looks a little too much like me.' I have tried to learn not to be afraid of that when that happens. I am not trying to obliterate myself and completely hide within the images like I used to.

As I was looking through a book about German Expressionist films and their stars, it all came together because of the extreme way actors made their faces up in those early day of film in order to pop out in the black-and-white. I just wanted to use makeup in the same way, partly perhaps because as women get older, they're told to wear less makeup.

I'm really just using the mirror to summon something I don't even know until I see it.

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.

The more horrific works came out of a feeling that everyone accepted my stuff too easily. I was deliberately trying to be antagonistic towards collectors and critics.

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.

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.

It is not like adding wrinkles to look older; it is using the wrinkles I already have to say something else. What is disturbing is not seeing more lines on my face but seeing that the range of possibilities of what I can do is much more limited.

I wanted pretty pictures of older women - women who are trying too hard but succeeding - pulling off an extreme look. What I didn't know would creep into the portraits was a vulnerability behind the strong facade that most of them wear.

I always need to get away from whatever it is I've just finished, to feel a distance from it.

People assume that a self-portrait is narcissistic and you're trying to reveal something about yourself: fantasies or autobiographical information. In fact, none of my work is about me or my private life.

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.'

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.

I have had a lifelong fascination with horror movies, scary movies, how they work.

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 realised that in my last two bodies of work - the mural and the Chanel pieces - that I didn't use any make-up because I was changing the faces digitally, and I realised I missed make-up in a major way.

I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.

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.

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.

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

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.

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.

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

I wanted to create something that people could relate to without having read a book about it beforehand.

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 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.

The way I see it, as soon as I make a piece I’ve lost control of it.

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.

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.

Some people have told me they remember the film that one of my images is derived from, but in fact I had no film in mind at all.

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

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 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.

[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.

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.

Being able to make a living doing something one truly loves to do - is my definition of success.

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.

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.

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

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.

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

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’m really just using the mirror to summon something I don’t even know until I see it.

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.

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

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’m trying to make other people recognize something of themselves rather than me.

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

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 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 can be fearlessly strong at times to protect an inner frailty.

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.

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.

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.

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

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 was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead.

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.