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Artykuły w czasopismach na temat "Sherrie Levine"
Singerman, Howard. "Sherrie Levine: On Painting". Res: Anthropology and aesthetics 46 (wrzesień 2004): 202–20. http://dx.doi.org/10.1086/resv46n1ms20167647.
Pełny tekst źródłaLevine, Sherrie. "For Douglas Crimp". October 171 (marzec 2020): 150–51. http://dx.doi.org/10.1162/octo_a_00384.
Pełny tekst źródłaTrespeuch, Hélène. "Sherrie Levine : de l’appropriationnisme au simulationnisme". Marges, nr 17 (1.11.2013): 44–53. http://dx.doi.org/10.4000/marges.127.
Pełny tekst źródłaCharles, Bertrand. "Sherrie Levine et l'appropriation : imposture ou acte créateur ?" Sociétés & Représentations 33, nr 1 (2012): 129. http://dx.doi.org/10.3917/sr.033.0129.
Pełny tekst źródłaTRODD, TAMARA. "THOMAS DEMAND, JEFF WALL AND SHERRIE LEVINE: DEFORMING ‘PICTURES’". Art History 32, nr 5 (12.11.2009): 954–76. http://dx.doi.org/10.1111/j.1467-8365.2009.00713.x.
Pełny tekst źródłaBuskirk, Martha, Sherrie Levine, Louise Lawler i Fred Wilson. "Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson". October 70 (1994): 98. http://dx.doi.org/10.2307/779055.
Pełny tekst źródłaSchwartz, Stephanie. "Revolution and After". October 158 (październik 2016): 126–54. http://dx.doi.org/10.1162/octo_a_00274.
Pełny tekst źródłaFabris, Annateresa. "Reivindicação de nadar a sherrie levine: autoria e direitos autorais na fotografia". ARS (São Paulo) 1, nr 1 (2003): 59–64. http://dx.doi.org/10.1590/s1678-53202003000100006.
Pełny tekst źródłaElkins, James. "La Persistance du "tempérament artistique" comme modèle : Rosso Fiorentino, Barbara Kruger, Sherrie Levine". Ligeia N°17-18, nr 1 (1995): 19. http://dx.doi.org/10.3917/lige.017.0019.
Pełny tekst źródłaCoëllier, Sylvie. "De la peinture aux « concepts visuels » : les appropriations de Sherrie Levine et d’André Raffray". Ligeia N°25-28, nr 1 (1998): 13. http://dx.doi.org/10.3917/lige.025.0013.
Pełny tekst źródłaRozprawy doktorskie na temat "Sherrie Levine"
Batorowicz, Beata Agnieszka, i 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.
Pełny tekst źródłaKratovic, Belma. ""Duchampianska" praktiker inom samtidskonsten". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411826.
Pełny tekst źródłaJhao, jian-hung, i 趙健宏. "Rethinking Modernism: Sherrie Levine and Louise Lawler’s Photography". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/7m39a9.
Pełny tekst źródła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.
Vieira, Ana Rita 1991. "A imagem depois da imagem : simulacros da paisagem". Master's thesis, 2015. http://hdl.handle.net/10451/18404.
Pełny tekst źródła"The Source of Appropriation: Sherrie Levine's After Walker Evans Suite". Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-05012007-094544/.
Pełny tekst źródłaSaraiva, Catarina 1973. "Espelhos e reflexos". Master's thesis, 2012. http://hdl.handle.net/10451/6333.
Pełny tekst źródłaThis 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
Książki na temat "Sherrie Levine"
Levine, Sherrie. Sherrie Levine. Zurich: Kunsthalle, 1991.
Znajdź pełny tekst źródłaLevine, Sherrie. Sherrie Levine. Genève: Musée d'Art Moderne et Contemporaine, 1998.
Znajdź pełny tekst źródłaTemkin, Ann. Sherrie Levine: Newborn. Philadelphia: Philadelphia Museum of Art, 1993.
Znajdź pełny tekst źródłaSherrie, Levine, Sussman Elisabeth 1939-, Crow Thomas E. 1948- i Whitney Museum of American Art, red. Sherrie Levine: Mayhem. New York: Whitney Museum of American Art, 2012.
Znajdź pełny tekst źródłaSherrie, Levine, red. Art history, after Sherrie Levine. Berkeley: University of California Press, 2012.
Znajdź pełny tekst źródłaEverall, Gavin. After Lyotard: The "sublime" and Sherrie Levine. London: Middlesex University, 1994.
Znajdź pełny tekst źródłaLevine, Sherrie. Sherrie Levine: 9 September to 14 October 1989. New York, NY: Mary Boone Gallery, 1989.
Znajdź pełny tekst źródłaBoone, Mary. Sherrie Levine: 12 September to 10 October 1987. New York: Mary Boone Gallery, 1987.
Znajdź pełny tekst źródłaFerguson, Bruce. Sherrie Levine, fountain: 4 May to 29 June 1991. New York: Mary Boone Gallery, 1991.
Znajdź pełny tekst źródłaReuse value: Spolia and appropriation in art and architecture, from Constantine to Sherrie Levine. Farnham, Surrey, UK, England: Ashgate, 2011.
Znajdź pełny tekst źródłaCzęści książek na temat "Sherrie Levine"
Trodd, Tamara. "Thomas Demand, Jeff Wall and Sherrie Levine: Deforming ‘Pictures’". W Photography after Conceptual Art, 130–52. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444391503.ch8.
Pełny tekst źródłaCoëllier, 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". W Memory & Oblivion, 1007–11. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_119.
Pełny tekst źródła"Sherrie Levine". W Bachelors. The MIT Press, 1999. http://dx.doi.org/10.7551/mitpress/1504.003.0007.
Pełny tekst źródła"Series Preface". W Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0001.
Pełny tekst źródła"Acknowledgments". W Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0002.
Pełny tekst źródła"Pictures". W Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0003.
Pełny tekst źródła"The Photographic Activity of Postmodernism". W Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0004.
Pełny tekst źródła"The Originality of the Avant-Garde: A Postmodernist Repetition (excerpt)". W Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0005.
Pełny tekst źródła"Sherrie Levine at A&M Artworks". W Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0006.
Pełny tekst źródła"The Discourse of Others: Feminists and Postmodernism (excerpt)". W Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0007.
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