Relevant bibliographies by topics / Sherrie Levine

Academic literature on the topic 'Sherrie Levine'

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Published: 4 June 2021
Last updated: 19 February 2023

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Journal articles on the topic "Sherrie Levine"

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Singerman, Howard. "Sherrie Levine: On Painting." Res: Anthropology and aesthetics 46 (September 2004): 202–20. http://dx.doi.org/10.1086/resv46n1ms20167647.

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Levine, Sherrie. "For Douglas Crimp." October 171 (March 2020): 150–51. http://dx.doi.org/10.1162/octo_a_00384.

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Trespeuch, Hélène. "Sherrie Levine : de l’appropriationnisme au simulationnisme." Marges, no. 17 (November 1, 2013): 44–53. http://dx.doi.org/10.4000/marges.127.

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Charles, Bertrand. "Sherrie Levine et l'appropriation : imposture ou acte créateur ?" Sociétés & Représentations 33, no. 1 (2012): 129. http://dx.doi.org/10.3917/sr.033.0129.

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TRODD, TAMARA. "THOMAS DEMAND, JEFF WALL AND SHERRIE LEVINE: DEFORMING ‘PICTURES’." Art History 32, no. 5 (November 12, 2009): 954–76. http://dx.doi.org/10.1111/j.1467-8365.2009.00713.x.

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Buskirk, Martha, Sherrie Levine, Louise Lawler, and Fred Wilson. "Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson." October 70 (1994): 98. http://dx.doi.org/10.2307/779055.

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Schwartz, Stephanie. "Revolution and After." October 158 (October 2016): 126–54. http://dx.doi.org/10.1162/octo_a_00274.

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In 1988, the Cuban collective ABTV engaged in its first of several acts of art-historical homage. ABTV (Tanya Angulo, Juan Pablo Ballester, José Ángel Toirac, and Illeana Villazón) photocopied reproductions of Sherrie Levine's After Series, the now canonical work of postmodernism in which Levine rephotographed reproductions of selection of photographs by America's white male modernist masters. This essay takes ABTV's homage as the starting point for an inquiry into the relationship between postmodernism and postcolonialism. How, it asks, has an obsession with “ends” shaped our histories of photography and revolution?
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Fabris, Annateresa. "Reivindicação de nadar a sherrie levine: autoria e direitos autorais na fotografia." ARS (São Paulo) 1, no. 1 (2003): 59–64. http://dx.doi.org/10.1590/s1678-53202003000100006.

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Elkins, James. "La Persistance du "tempérament artistique" comme modèle : Rosso Fiorentino, Barbara Kruger, Sherrie Levine." Ligeia N°17-18, no. 1 (1995): 19. http://dx.doi.org/10.3917/lige.017.0019.

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Coëllier, Sylvie. "De la peinture aux « concepts visuels » : les appropriations de Sherrie Levine et d’André Raffray." Ligeia N°25-28, no. 1 (1998): 13. http://dx.doi.org/10.3917/lige.025.0013.

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Dissertations / Theses on the topic "Sherrie Levine"

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Batorowicz, Beata Agnieszka, and n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship." Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.

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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history’s patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
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Kratovic, Belma. ""Duchampianska" praktiker inom samtidskonsten." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411826.

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This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement.       The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however, is to give an account of its development both prior to and beyond that narrow temporal window, seeking to identify both the roots and the legacy of the philosophical aspects of conceptual practice.       The study traces these roots to the actions of Duchamp, who shifted the focus from aesthetics to a more cognitive valuation of art, by designating an everyday object as an artwork; an action that paved the way for the notion that, rather than being skilled craftsmen, artists are the authors of meaning, and artworks are the creation and transmission of ideas.       This ‘Duchampian’ approach which pushes and explores the boundaries of art within the framework of the artwork themselves has also influenced the selection of works for analysis. Like most other contemporary artworks, Michael Mandiberg's After Sherrie Levine and Banksy’s The Walled off Hotel, are considered conceptual in the sense that they work to transmit ideas to the viewer, but yet, like Duchamp’s ready-mades a hundred years earlier, they sit beyond commonly accepted understandings of the formal boundaries of the artwork, thus risking not being perceived as artworks at all. For that reason, these works potentially constitute radical practices that could be understood as questioning the limits of art making today.       From a theoretical point of view the study engages in hermeneutics and constructivism in order to construct an analysis of these two artworks relating their websites as well as artists’ intentions to the philosophical notions of conceptual art. The results show that the After Sherrie Levine is a critique of Levine's aura as well as of the art institutions. It also proposes that artistic appropriation as an art form can have an instrumental value in exploring the limits of art making. It further shows that it is possible to create art that is neither exclusive nor mysterious. The analysis of The Walled off Hotel shows that while operating as a local company with an ambition to lead the creative resistance movement in the West Bank through art, the hotel also constitutes a political satire with real effects in the area. The thesis proposes that this work is deviant and ‘organic’ in the way it renegotiates both the role of the artist and the very notion of 'art' itself.        Thus both After Sherrie Levine and The Walled off Hotel can be regarded as rather ‘Duchampian’ practices today.
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Jhao, jian-hung, and 趙健宏. "Rethinking Modernism: Sherrie Levine and Louise Lawler’s Photography." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/7m39a9.

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碩士
國立中央大學
藝術學研究所
103
In 1977, art crtic Douglas Crimp (1944-) curated an exhibition named “Pictures,” establishing a new wave in contemporary art which is different from Modernism, and pioneering the tendency of Postmodernism. These artists have a whole new sense for pictures. They are not concerned with what pictures depict. All they care is what pictures are about. Sherrie Levine (1947-) is one of best-known artists among them. In the 1980s, she rephotographed a series of artists‟ works. She not only questioned Modernism‟s principle of “originality,” but also reflected on how the development of artisitic enviroment had changed. Her fellow artist Louise Lawler (1947-) used the camera to record the setting and context of art works. Besides institutional critique, Lawler‟s works also dealt with issues like artists‟ authorship, labor division in art production and questioned Modernism‟s concepts as Levine did. We may see Levine‟s and Lawler‟s works have different goals at the first glance, but parts of their artistic concepts and interested issues are similar. Especially they seem to have adopted a questioning attitude toward Modernism. Furthormore, facing Neo-expressionism arising in the 1980s, Levine and Lawler had an oppositional stance to these artists. Based on these common aspects, this thesis focuses on Levine‟s and Lawler‟s photography produced in the 1980s. The first chapter seeks to understand the Pictures Generation artists‟ formative background, creative concepts and production means. In chapter two, I discuss Levine‟s photography including her production approaches, creative concepts, and how she reinterpreted Modernism‟s principle of “originality.” In chapter three, I discuss Lawler‟s photography in terms of methods, creative concepts, and how she reinterpreted the context and production of art works. This thesis not only examines their works‟ relationship with Modernism but also aims to describe the rising force of the Pictures Generation in the 1980s more clearly. Though at that time art critics considered that Pictures artists had broken away from Modernism, from today‟s view, we need to question this opinion, and see the Pictures artists expanding Modernism‟s boundaries.
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Vieira, Ana Rita 1991. "A imagem depois da imagem : simulacros da paisagem." Master's thesis, 2015. http://hdl.handle.net/10451/18404.

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“A Imagem depois da Imagem: Simulacros da Paisagem” is a theoretical and practical essay that reflects on the rules and conventions of photography. When we apply a new context to an image we are giving it a new chance to live, by creating a new interpretation. Considering that the landscape is not a physical space but rather a set of ideas and emotions that we create from a place, I consider this artistic project as a simulacrum of the representation of landscape. Since the very concept of landscape is fiction, one of it's forms of representation is the possibility that the viewer can travel without being attached to something that identifies or references. Through a method of selecting and editing images that already exist in the world, I open a path for the construction of poetic systems and new perceptions of territories and sensibilities
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"The Source of Appropriation: Sherrie Levine's After Walker Evans Suite." Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-05012007-094544/.

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Saraiva, Catarina 1973. "Espelhos e reflexos." Master's thesis, 2012. http://hdl.handle.net/10451/6333.

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Tese de mestrado, Pintura, (Variante Curricular I), Universidade de Lisboa, Faculdade de Belas Artes, 2012
This dissertation is part of my Master‟s Degree in Painting (course variant I), at Faculdade de Belas Artes, Universidade de Lisboa. Its objective is to present a reflection on such concepts as body, identity, duplication, fragmentation or distortion, and how they mould a variety of approaches to the representation and construction of the feminine. Throughout the history of Western Art, the mirror, as an attribute of seduction, has accompanied the image of the woman. In contemporaneity in general and in contemporary art in particular, it appears as a postmodern deconstruction of classical archetypes that acquires the status of an art object, revealing a multitude of meanings and conveying the personal or collective experiences of the female subject. Within this context, and in accordance with contemporary artistic practices, a number of works by women artists who explore the mirror image‟s dimensional possibilities in a variety of techniques, such as sculpture, photography, performance, video and installation, will be analysed. The reflection carried out within the dissertation theoretical component will be warranted by the study‟s visual work section
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Books on the topic "Sherrie Levine"

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Levine, Sherrie. Sherrie Levine. Zurich: Kunsthalle, 1991.

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Levine, Sherrie. Sherrie Levine. Genève: Musée d'Art Moderne et Contemporaine, 1998.

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Temkin, Ann. Sherrie Levine: Newborn. Philadelphia: Philadelphia Museum of Art, 1993.

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Sherrie, Levine, Sussman Elisabeth 1939-, Crow Thomas E. 1948-, and Whitney Museum of American Art, eds. Sherrie Levine: Mayhem. New York: Whitney Museum of American Art, 2012.

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Sherrie, Levine, ed. Art history, after Sherrie Levine. Berkeley: University of California Press, 2012.

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Everall, Gavin. After Lyotard: The "sublime" and Sherrie Levine. London: Middlesex University, 1994.

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Levine, Sherrie. Sherrie Levine: 9 September to 14 October 1989. New York, NY: Mary Boone Gallery, 1989.

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Boone, Mary. Sherrie Levine: 12 September to 10 October 1987. New York: Mary Boone Gallery, 1987.

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Ferguson, Bruce. Sherrie Levine, fountain: 4 May to 29 June 1991. New York: Mary Boone Gallery, 1991.

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Reuse value: Spolia and appropriation in art and architecture, from Constantine to Sherrie Levine. Farnham, Surrey, UK, England: Ashgate, 2011.

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Book chapters on the topic "Sherrie Levine"

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Trodd, Tamara. "Thomas Demand, Jeff Wall and Sherrie Levine: Deforming ‘Pictures’." In Photography after Conceptual Art, 130–52. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444391503.ch8.

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Coëllier, Sylvie. "Les démarches «appropriationnistes» de Sherrie Levine et d’André Raffray: Deux pratiques critiques de la construction de l’histoire de l’art «moderniste» et de ses oublis." In Memory & Oblivion, 1007–11. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_119.

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"Sherrie Levine." In Bachelors. The MIT Press, 1999. http://dx.doi.org/10.7551/mitpress/1504.003.0007.

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"Series Preface." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0001.

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"Acknowledgments." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0002.

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"Pictures." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0003.

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"The Photographic Activity of Postmodernism." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0004.

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"The Originality of the Avant-Garde: A Postmodernist Repetition (excerpt)." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0005.

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"Sherrie Levine at A&M Artworks." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0006.

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"The Discourse of Others: Feminists and Postmodernism (excerpt)." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0007.

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