Natacha Merritt might be surprised at being designated a millennial woman, but she definitely is.She came of age with the Internet’s bare-all, confessional culture.While her digital manipulations still leave you looking for the real Cindy Sherman, you might be able to find her in the retrospective of her work currently being exhibited at MOMA in New York.She boldly went where few women had ever gone—on a journey of self-exploration for the new millennium—and gave us no holds barred images depicting her life through sensual encounters.She’s smart, she’s daring, and goes her own way in the world.In the 80s she photographed herself in many guises: a Hitchcock heroine, a Monroe-like glamour girl, an abuse victim, a clown, a corpse, a mutilated hermaphrodite sex doll, a clown, and occasionally, as herself.Cindy Sherman began to make a name for herself in the 1980s.All of her early work was done using cameras with film.
Predictably, the more controversy her work generated, the higher the prices went.
Before long, her photographs were selling for million at auction.
She achieved almost instant success after the shock value of a centerfold series the commissioning magazine refused to publish—not because the images were too sexually explicit, but because they were too disturbing.
They depicted terrified, exposed, and hunted women which some thought perpetuated the idea of females as victims.
Natacha’s story follows the stories of two other women who broke the photographic ground of self-portraiture in the last millennium: Cindy Sherman and Claude Cahun.
Like Natacha, Cindy Sherman was a star of her own photos.