Untitled #86

Untitled #86

Cindy Sherman

1981

Accession Number

229386

Medium

Chromogenic print

Dimensions

61 × 122 cm (24 × 48 in.)

Classification

photograph

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Gift of Edlis Neeson Collection

Background & Context

Background Story

"Untitled #86" is a 1981 chromogenic print by Cindy Sherman that belongs to the series of "Untitled Film Stills" that made the American artist one of the most influential photographers of the postmodern period, the image showing Sherman in one of her many self-performances that deconstruct the conventions of cinema, gender, and representation. The composition is a 24 × 48 inch print showing the artist in a pose and setting that suggest a specific film genre—probably the melodrama or the woman's film of the 1950s and 1960s—the lighting, the costume, and the expression all carefully calculated to evoke the emotional vocabulary of Hollywood while simultaneously exposing its artificiality. The chromogenic print creates a surface of extraordinary color saturation and tonal range that mimics the look of commercial film photography, the technical perfection of the print matching the technical perfection of the cinematic illusion. The 1981 date places this work in the period of Sherman's most intensive production of the "Untitled Film Stills," the series that established her reputation as the leading practitioner of photographic self-performance and the most acute critic of gender representation in contemporary art. Art historians have connected this print to the broader tradition of the self-portrait in photography, from the modernist experiments of Claude Cahun to the feminist investigations of Adrian Piper, noting that Sherman's treatment is more focused on the conventions of representation, the codes of costume and gesture that construct femininity, than the personal identity or the political statement of these predecessors.

Cultural Impact

This 1981 chromogenic print deconstructed 1950s cinematic femininity through calculated self-performance melodrama, using technical color perfection to expose Hollywood gender-construction artificiality within postmodern photographic convention-critique.

Why It Matters

It matters because Sherman became a movie star in a photograph and made the frame feel like a question—proving that even a still could be a performance if the costume was right.