“Her brothers and her sister remember that Cindy spent a lot of time alone in her room, and that she loved to play dress up. She had a trunk full of old clothes, some of them inherited from her grandmother, with which she could transform herself into a little old lady or a witch or a monster; she never seemed to want to be a ballerina or a glamour girl. Cindy didn’t have a problem with the way she looked out of costume; it was just that she really enjoyed becoming someone else.”—Calvin Tomkins - The New Yorker, 2000
“I’m illiterate in the historical, classic knowledge of photography, the stuff teachers attempted to bore into my head, which I resisted. The way I’ve always tried to cull information from older art and put it into my work is that I view it all anonymously, on a visceral level. Lately I’ve been looking at a lot of images from Surrealism and Dada, but I never remember which ones are the Man Rays, say, because I’m just looking for what interests me.”—Cindy Sherman
“I’ve never thought of any of this work as some long exposé about self-portraiture. I really think of them all as different people—each one is a different character. Even though I can remember back to the day when I was shooting…it still seems like somebody else. That’s really what I’m looking for, that’s what [is] in my mind when choosing an image. What makes it successful is when I suddenly don’t sense anything about myself in that image.”—Cindy Sherman
“I don’t want people to be able to absorb the images. I want there to be questions in the work. I’m trying to engage the viewer to do a little of the work.”—Cindy Sherman, on why her pieces are all untitled.
“[Cindy] is doing a fiction of a fiction of a fiction. And even though this is a photograph of herself, she is really suggesting that there is no self, despite the fact that it’s the image of the flesh and blood of an existing person.”—Linda Nochlin, art historian
“People look at Cindy’s work and they can read things into it that are personal to them. Everybody has their different spin or interpretation. [But] Cindy doesn’t talk to anybody about it, Cindy doesn’t talk to the press. Very rarely she’ll talk to the New Yorker or The Times. She is very stingy about the amount of information [she puts out], which seems to help the mystique.”—Paul H-O, Cindy’s ex-boyfriend
"The centerfold type of pictures were meant to resemble in format centerfolds, but in content I wanted a man opening up the magazine to look at it in expectation of something lascivious and then suddenly feel like the violator that they would be." -Cindy Sherman