Refer to requirements on the attachment, including a simple .. please do not forget sources .. the topic: Exhibition Critique-QEP FOR EXAMPLE: Cindy Sherman Self-Portraits Offer Empty Entertainment: Review By Lance Esplund - Feb 26, 2012 Cindy Sherman represents everything that is wrong with the contemporary art world. Considered a reigning matriarch of the “pictures generation” (the baby boomers who grew up in an era dominated by Pop art, Conceptualism, television and mass media), Sherman (born 1954) is a former painter who originally turned to photography for its relative ease, and to self-portraiture as a form of art therapy. Extremely influential, she is credited with having elevated photography in the late 1970s to the level of painting -- of high art -- but in fact she has succeeded in combining the worst of both worlds. Sherman, a campy surrealist mired in surfaces, appropriates the distortions of portrait painting without comprehending their metaphoric intent; and she reduces photography to mere documentation of her studio stagings, stripping the medium, as well as the genre of self-portraiture, of its mysteriousness -- its revelatory nature. More than 170 of her theatrical photographs (almost all self-portraits and all “Untitled”) are the subject of a 35- year retrospective at the Museum of Modern Art (“Cindy”). In these elaborately staged and ironic mise-en-scenes, Sherman is an ageless, timeless, gender-bending chameleon with many guises. Yet her focus is shallow, narrow -- predominantly stereotypes. Biker Chick Sherman dresses up in makeup, costumes and retro-fashions. She incorporates props, prosthetics, sex dolls and masks. She photographs herself as the schoolgirl, aristocrat, frustrated housewife, film-noir heroine, biker chick, odalisque, demented clown and soap opera diva. Or she appropriates historical figures such as Madame de Pompadour, or Renaissance and Baroque paintings and subjects such as an androgynous Caravaggio “Bacchus” and a 15th-century “Madonna and Child” -- with Sherman’s exposed fake breast aimed directly at the camera. At MoMA, these “History Portraits” are hung salon-style on burgundy walls, as if at a national portrait gallery. A performer and provocateur, Sherman knows her audience. Yet she remains slippery, evasive. Pushing buttons, she blends the right mix of irony, sexual titillation, humor, kitsch, nostalgia and references from mass media and art history. Every photograph provides clues and a payoff. In one image, a wide-eyed Sherman holds her glistening red tongue between her fingers, and towers over a group of tiny toy figurines, as if riffing on the “Attack of the 50 Foot Woman.” Suburban Every-Girl In another, from a 1981 series in which she poses as clothed “Centerfold” models, she is the suburban every-girl of the era, lying alone at night, staring at the telephone. Another photograph, from the 1992 series of “Sex Pictures,” is a Frankensteinian marriage of Hans Bellme.