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In later series, such as the head shots (2000–2002), clowns (2003–04), and society portraits (2008), the artist used digital tools to create a variety of environments.The garish fluorescent colors in a clown picture contribute to the disturbing quality of the portrait, while a fairy tale forest provides a dreamy backdrop for a well-to-do lady.Outlandish and revolting tableaus feature rotting food and substances that look like blood, feces, and vomit.Equally repulsive and seductive, these visually rich landscapes of decay are painterly in texture and color.This large-scale photographic mural is on view at Mo MA for the first time in the United States.

Theatrical and artificial—full of large noses, bulging bellies, squirting breasts, warts, and unibrows—the history portraits are poised between humorous parody and grotesque caricature.As a group they explore the complexity of representation in a world saturated with images, and refer to the cultural filter of images (moving and still) through which we see the world.Fashion—a daily form of masquerade that communicates culture, gender, and class—has been a constant source of inspiration for Sherman and a leading ingredient in the creation of her work.Her first such commission, made in 1983, parodies typical fashion photography.Rather than projecting glamour, sex, or wealth, the pictures feature characters that are far from desirable—whether goofy, hysterical, angry, or slightly mad.

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