Printed 2001. In photographs such as "Lucille Ball," Sherman uses makeup, wigs, costumes, props, and settings to turn the camera on herself and seamlessly transform her features into a wide variety of recognizable female archetypes. From photo to photo, the artist becomes virtually unrecognizable, causing these works to become voyeuristic performance art rather than traditional self-portraits. As a result, an entire language of how women see and think about themselves through their pervasive representations in popular culture is exposed.
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