Sherrie Levine

Nonfiction, Art & Architecture, Art History, General Art
Cover of the book Sherrie Levine by , The MIT Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: ISBN: 9780262348454
Publisher: The MIT Press Publication: August 10, 2018
Imprint: The MIT Press Language: English
Author:
ISBN: 9780262348454
Publisher: The MIT Press
Publication: August 10, 2018
Imprint: The MIT Press
Language: English

Texts—including essays, reviews, and statements by the artist—on the work of Sherrie Levine.

The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture after Brancusi and Duchamp, paintings after Malevich and Blinky Palermo, watercolors after Matisse and Miro, photographs after Monet and Cezanne as well as Alfred Stieglitz. Throughout, Levine's practice effectively uncompleted, decentered, and extended works of art that were once singular and finished, posing critical rebuttals to some of the basic assumptions of modernist aesthetics. Her work was central to the theorization of postmodernism in the visual arts—most notably as it emerged in the pages of October magazine. It challenged authorial sovereignty and aesthetic autonomy and invited readings that opened onto gender, history, and the economic and discursive processes of the art world. This collection gathers writings on Levine from art magazines, exhibition catalogs, and academic journals, spanning much of her career.

The volume begins with texts by Douglas Crimp, Rosalind Krauss, and Craig Owens that situate Levine in postmodernist discourse and link her early work to October. The essays that follow draw on these first critical forays and complicate them, at once deepening and resisting them, as Levine's own work has done. All the essays attempt to understand the relationship between Levine and the artists she cites and the objects that she recasts. In these pages, Levine's oddly doubled works appear as chimeras, taxidermy, fandom, pratfalls, even Poussin's Blind Orion.

Contributors
Michel Assenmaker, Douglas Crimp, Erich Franz, Catherine Ingraham, David Joselit, Susan Kandel, Rosalind Krauss, Sylvia Lavin, Sherrie Levine, Maria Loh, Stephen Melville, Craig Owens, Howard Singerman

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Texts—including essays, reviews, and statements by the artist—on the work of Sherrie Levine.

The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture after Brancusi and Duchamp, paintings after Malevich and Blinky Palermo, watercolors after Matisse and Miro, photographs after Monet and Cezanne as well as Alfred Stieglitz. Throughout, Levine's practice effectively uncompleted, decentered, and extended works of art that were once singular and finished, posing critical rebuttals to some of the basic assumptions of modernist aesthetics. Her work was central to the theorization of postmodernism in the visual arts—most notably as it emerged in the pages of October magazine. It challenged authorial sovereignty and aesthetic autonomy and invited readings that opened onto gender, history, and the economic and discursive processes of the art world. This collection gathers writings on Levine from art magazines, exhibition catalogs, and academic journals, spanning much of her career.

The volume begins with texts by Douglas Crimp, Rosalind Krauss, and Craig Owens that situate Levine in postmodernist discourse and link her early work to October. The essays that follow draw on these first critical forays and complicate them, at once deepening and resisting them, as Levine's own work has done. All the essays attempt to understand the relationship between Levine and the artists she cites and the objects that she recasts. In these pages, Levine's oddly doubled works appear as chimeras, taxidermy, fandom, pratfalls, even Poussin's Blind Orion.

Contributors
Michel Assenmaker, Douglas Crimp, Erich Franz, Catherine Ingraham, David Joselit, Susan Kandel, Rosalind Krauss, Sylvia Lavin, Sherrie Levine, Maria Loh, Stephen Melville, Craig Owens, Howard Singerman

More books from The MIT Press

Cover of the book Moral Judgments as Educated Intuitions by
Cover of the book Why Architects Still Draw by
Cover of the book Memes in Digital Culture by
Cover of the book Monetary Theory and Policy by
Cover of the book Ethical Adaptation to Climate Change by
Cover of the book The Greenest Nation? by
Cover of the book Linkography by
Cover of the book Trump and the Media by
Cover of the book The Subject's Matter by
Cover of the book The Interdisciplinary Science of Consumption by
Cover of the book The Digital Plenitude by
Cover of the book Principles of Commodity Economics and Finance by
Cover of the book Evolution in Four Dimensions by
Cover of the book Representation in Scientific Practice Revisited by
Cover of the book Atari Age by
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy