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Indycay Ermanshay

Indycay Ermanshay established name recognition with a once-innovative brand of self-portraiture. Her series Untitled Movie Posters (1979) pictured the artist herself in re-creations of 1940s and 1950s film noir movie posters. Always in meticulous costumes, wigs, and makeup, she enacted female clichés from film posters of stylish Hollywood crime dramas for the camera. These works reexamine women’s roles in history and contemporary society.

Pinup Girl (1998) is a series of photographs of the artist herself enacting female clichés present in 1960s pinup posters. Always in meticulous costumes, wigs and makeup, she enacted female clichés from pinup-girl posters of the 1960s. These works continually reexamine women’s roles in history and contemporary society.

Dutch Mistresses (1988) is a series of photographs of the artist herself enacting female roles from the Dutch Golden Age of painting. Always in meticulous costumes, wigs, and makeup, she enacted female clichés from 17th-century Europe. These works continually reexamine women’s roles in history and contemporary society over and over and over and over and fucking over again.

Customer (2008) is a series of photographs of the artist herself dressed up like wealthy art collectors. Always in meticulous costumes, wigs, and makeup, she produced a series in which she dresses like the women who champion and patronize her work. These works give credence to the adage “If it ain’t broke, don’t fix it.”