Selected Press
Artnet News
Sarah Cascone
16 September 2025
Decoding Cindy Sherman’s Many Roles, From Straphanger to Society Dame
‘It is [Cindy Sherman] doing the costumes and the makeup, but it’s also the mannerisms in each of the
images—she adopts the poses of each person, the
body language is the character.’
The New Yorker
Françoise Mouly
25 August 2025
Cindy Sherman’s and Rea Irvin’s Eustace Tilley: Cover Story
‘It was quite a challenge. There have been so many variations on Eustace, I thought it would make it easier, but actually it made it harder to find my own.’
The New Yorker
Chris Wiley
20 February 2024
Cindy Sherman's Grotesque Digital Creations
‘[Sherman's] characters, with their freaky, roiled features, seem to teeter on the edge of a breakdown, as if, after all the years of posturing and posing, the façade is finally about to give way.’
The New York Times
Nancy Princenthal
24 January 2024
Cindy Sherman: Woman of an Uncertain Age
'There are now over 600 models of Sherman’s transformations to choose from. Each asks that we avoid confusing the dancer with the dance. The newest ones confirm that she’s still running as fast as she can.'
FT Weekend Magazine
Andrew Dickson
3 June 2023
Cindy on Cindy
‘I’ve never really exposed anything about myself. I think it’s always been the opposite: I’ve been hiding.’
DIE ZEIT
Tobias Timm
11 May 2023
Wir werden die Menschen immer brauchen
‘I’ve sometimes digitally manipulated images before, but this time I wanted you to see the collage, the hard cuts between the different parts of the image. The skin textures of the composite faces are quite different. I love the combination of colored and black and white parts of the face.’
WELTKUNST
Gesine Borcherdt
25 April 2023
Cindy Sherman. Rollenbilder
‘Just how little she continues to spare herself is shown in her series of paintings that will be on display at Hauser & Wirth in Zurich from 9 June to 23 September: grotesque close-ups in black and white of her face, distorted beyond recognition, are reminiscent of the grimaces of the Baroque sculptor Franz Xaver Messerschmidt. The artist’s central question, to what extent media representation defines our identity, is pushed to the limit here.’
