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Sherman used costumes and make-up, including blackface, to transform her identity for each image, and the cutout characters were lined up along the bus's advertising strip.Margo Jefferson on the bus riders series: "a series of 15 black-and-white photographs from 1976 in which she impersonates black and white bus riders.When I became involved with close-ups I needed more information in the expression. When talking about one of her centerfold pictures Sherman stated, "In content I wanted a man opening up the magazine suddenly look at it with an expectation of something lascivious and then feel like the violator that they would be looking at this woman who is perhaps a victim. Obviously I'm trying to make someone feel bad for having a certain expectation".She explained to the New York Times in 1990, "I feel I'm anonymous in my work.He said that’s how all these men in media and politics work — everyone’s got their friend. No offense.’ He said, ‘Well, we’ll be in touch.’ And that was that.I said, ‘Would I have to be friends with anybody else? A couple weeks later, I called a friend who was very high up in the RNC and I asked him what happened.When I look at the pictures, I never see myself; they aren't self-portraits.
When I see what I want, my intuition takes over—both in the 'acting' and in the editing.
In her landmark photograph series, the Untitled Film Stills, (1977–80), Sherman appeared as B-movie and film noir actresses.
When asked if she considers herself to be acting in her photographs, Sherman said, “I never thought I was acting. Somehow the acting just happened.” Many of Sherman's photo series, like the 1981 Centerfolds, call attention to the stereotyping of women in films, television and magazines.
The artist poses in different roles (librarians, hillbillies, and seductresses), and settings (streets, yards, pools, beaches, and interiors), She would often pose her heroines as alone, expressionless, and in private.
An overarching characteristic of her heroines were those that did not follow conventional ideas of marriage and family.
Sherman was also exposed to the contemporary art exhibited at the Albright-Knox Art Gallery, the two Buffalo campuses of the SUNY school system, Media Studies Buffalo, and the Center for Exploratory and Perceptual Arts, and Artpark, in nearby Lewiston, N. Sherman works in series, typically photographing herself in a range of costumes.