Untitled #424 2004

Cindy Sherman made this photograph, Untitled #424, and though we don’t know exactly when, it’s clear that it emerges from a rich and complex history of image-making. What did it feel like for her to create this character? What kind of emotions did she feel when she looked into the mirror, seeing this version of herself? The painted marks on her face, the meticulously chosen wig, and the costume are all part of a conversation about the construction of identity and representation. Think about the shiny red nose and the black teardrops under the eyes—the painting on the face and around the eyes—they all help in the transformation of the artist into another character. Sherman’s clown, for example, reminds me of the work of other artists who use their bodies as a canvas, like Yves Klein or Hannah Wilke. It’s as if artists are always talking to each other across time, inspiring and challenging one another’s creative vision. And like all great art, this photograph embraces ambiguity, inviting us to bring our own interpretations and experiences to the surface, instead of reading them from the surface.