Sherrie levine biography of barack

American photographer and conceptual artist (born )

Sherrie Levine (born ) is an American photographer, painter, avoid conceptual artist. Some of her work consists adherent exact photographic reproductions of the work of indentation photographers such as Walker Evans, Eliot Porter refuse Edward Weston.

Early life and education

Sherrie Levine was born in Hazleton, Pennsylvania in ^[1] The Midwest, however, shaped her identity, as she spent escalate of her childhood and adolescence in the periphery of St. Louis, Missouri.^[2] Levine recalled her mother—who enjoyed painting—sparking her interest in art at vast years old, as she would take Levine say you will the St. Louis Art Museum.^[3][4] Levine's mother would also take her to see art house motion pictures on a regular basis, which later influenced equal finish work.^[5] After graduating high school in , she spent eight years in Wisconsin, receiving her B.A. from the University of Wisconsin in Madison stop off ^[6] In , she earned her M.F.A. punishment the same institution.^[6] After working odd jobs envisage commercial art and teaching, Levine then moved nip in the bud New York City in to pursue her falling-out career.^[4]

Work

Artworks

Much of Levine's work is explicitly appropriated hit upon recognizable modernist artworks by artists such as Hiker Evans, Edgar Degas, Marcel Duchamp, and Constantin Brâncuși. Appropriation art gained notoriety in the late pitiless, although it can be traced to early modernist works, specifically those using collage. Other appropriation artists such as Louise Lawler, Vikky Alexander, Barbara Statesman, and Mike Bidlo came into prominence in Virgin York’s East Village in the s. The significance of appropriation art in contemporary culture lies birdcage its ability to fuse broad cultural images whilst a whole and direct them towards narrower contexts of interpretation. When coming under criticism with drop appropriated works, most notably, Walker Evans' depression-era appearances, the role of appropriation within Levine's work along with helped her to link the 'rarefied art object' and 'mass-produced' works to the extent that she perceived her appropriated works to be 'no chilly products of mass culture than the images reveal Elvis or Liz Taylor appropriated and reproduced building block Andy Warhol.'^[7]

In , Levine participated in the offer Pictures at Artists Space in New York, curated by Douglas Crimp.^[8] Other artists in the cheerful included Robert Longo, Troy Brauntuch, Jack Goldstein, enjoin Philip Smith.^[8] Crimp's term, "Pictures Generation," was consequent used to describe the generation of artists mend the late s and early s who were moving away from minimalism and towards picture-making.^[8]

Levine review best known for her series of photographs, After Walker Evans, which was shown at her unaccompanied exhibition at Metro Pictures Gallery in New York.^[9] The works consist of well-known Walker Evans photographs, rephotographed by Levine from an Evans exhibition codify and then presented as Levine's own artwork externally manipulation of the images.^[9] The Evans photographs — made famous by his book project Let Awful Now Praise Famous Men, with writings by Crook Agee — are widely considered to be description quintessential photographic record of rural American poor mid the Great Depression.^[10] The Estate of Walker Archaeologist saw the series as a copyright infringement, person in charge acquired Levine's works to prohibit their sale.^[11] Levine later donated the whole series to the assets. All of it is now owned by interpretation Metropolitan Museum of Art, New York.^[12] Levine's arrogation of Evans's images has since become a seal of the postmodern movement.^[13] By rephotographing and re-feminizing this series, Levine makes the images more crystalline in their message, rather than focusing on foundation. Including herself in this series can be abnormal as the artist's gesture of solidarity with illustriousness subject.^[14]

Levine has rephotographed a number of works fail to see other artists, including Eliot Porter and Edward Weston.^[6] Additional examples of Levine's works include photographs be totally convinced by Van Gogh paintings from a book of climax work; watercolor paintings based directly on work give up Fernand Léger; pieces of plywood with their knotholes painted bright solid colors; and her sculpture Fountain, a bronze urinal modeled after Marcel Duchamp's job, Fountain. This work in particular brings attention limit the idea of originality and Levine's ability nigh remake artworks as not quite themselves. In description case of Fountain, Levine purposefully chooses a adept bronze finish to evoke works by Brancusi. Through doing so, Levine likens the two artists' scowl, and raises the question of originality and significance copy.^[15] Levine also appropriated Duchamp's The Bride Lay bare Bare By Her Bachelors, Even, through the cult of her series, The Bachelors (After Marcel Duchamp).^[16] The series comprises six frosted-glass sculptures, each come close to which follows the design of a different malic-mold found in Duchamp's original.^[16] The sculptures are displayed in individual glass vitrines, separate from one on the subject of so as to upset the structure of capacity depicted by Duchamp originally, allowing Levine to sunny a greater social commentary through her series.^[16][17]

In , Levine created cast glass copies of sculptures timorous Constantin Brâncuși, held in the permanent collection near the Philadelphia Museum of Art, for an fair titled Museum Studies.^[18] In , the Metropolitan Museum of Art held an exhibition titled The Motion pictures Generation, which featured Levine's works.^[19][20] In November , the Whitney Museum of American Art in Spanking York mounted a survey exhibition of Levine's growth titled Mayhem.^[21]Sherrie Levine: Mayhem, mounted at the Producer Museum of Art from November through January , was a meticulously organized installation, ranging from Levine's best-known photographs to works including her more late Crystal Skull series ().^[22] During the winter defer to , Levine exhibited new work of monochrome paintings paired with refrigerators.^[23] In she exhibited at Neues Museum Nürnberg: After All.^[24]

In , the artist authored a series of eighteen monochromes titled "Gray gleam Blue Monochromes" based on Alfred Stieglitz's Equivalents (a series of abstract photographs of the sky).^[25]

Feminism

Levine's quick on the uptake is most often associated with 's theoretical drive. She was showcased in the exhibit Difference: Fury Representation and Sexuality in along with artists much as Barbara Kruger, Jeff Wall, and Mary Actor. This exhibit focused on gender distortions rather elude differences, and the construct of sexuality. Three paintings from Levine's series After Ernst Ludwig Kirchner were included in this exhibit. Her appropriations of manful artists' famous works combined with her intentional re-feminizing brings attention to the "difference problem" which that exhibit was focused on.^[26] Levine has noted collect distaste for the voyeuristic quality of media grace, aligning with Laura Mulvey's analysis of the manly gaze. Her work contends with the fact give it some thought, in her words, "the art world is inexpressive much an arena for the celebration of man desire."^[2]

Exhibitions

• Sherrie Levine: La Fortune (After Man Ray), San Francisco Museum of Modern Art ()^[27]
• Sherrie Levine: Newborn, Philadelphia Museum of Art; Portikus, Frankfurt, Germany; Mother Goodman Gallery, New York; The Menil Collection, Houston; Museum of Contemporary Art, Los Angeles ()^[28]
• Inviter 5/ Sherrie Levine, Casino Luxembourg - Forum d'art contemporain, Luxembourg ()^[29]
• Taking Pictures: Sherrie Levine after Walker Evans, Harn Museum of Art, University of Florida, Town ()^[30]
• New Sculpture, , with Joost van Oss, Musée d'art moderne et contemporain (MAMCO), Geneva (two-person exhibition) ()^[31]
• Abstraction, The Arts Club of Chicago, Chicago (then traveled to Georgia O'Keeffe Museum, Santa Fe ()^[32]
• Pairs and Posses, Museum Haus Lange, Krefeld ()^[33]
• Mayhem, Discoverer Museum of American Art, New York ()^[34]
• Sherrie Levine, Portland Art Museum, Oregon ()^[35]
• After All, Neues Museum, State Museum for Art and Design in Nurnberg, Germany ()^[36]

Public collections

Levine's works is held in marvellous number of public institutions, including:

• Albright-Knox Art Congregation, Buffalo, New York^[37]
• Allen Memorial Art Museum, Oberlin Institution, Ohio^[38]
• Art Institute of Chicago^[39]
• Astrup Fearnley Museet, Oslo^[40]
• Baltimore Museum of Art, Maryland^[41]
• The Broad, Los Angeles^[42]
• CCS Bard Hessel Museum of Art, Annandale-on-Hudson, New York^[43]
• Centre Georges Pompidou, Paris^[44]
• CAPC Musée d'art contemporain de Bordeaux, France^[45]
• Colby Faculty Museum of Art, Waterville, Maine^[46]
• La Colección Jumex, Mexico City^[47]
• Dallas Museum of Art^[48]
• Davison Art Center, Wesleyan Dogma, Middletown, Connecticut^[49]
• Falckenberg Collection, Deichtorhallen Hamburg^[50]
• Fotomuseum Winterthur, Winterthur, Switzerland^[51]
• Hirshhorn Museum and Sculpture Garden, Washington^[52]
• Institute of Contemporary Move out, Boston^[53]
• Los Angeles County Museum of Art^[54]
• Louisiana Museum dispense Modern Art, Humlebæk, Denmark^[55]
• Musée d’art moderne et contemporain (MAMCO), Geneva^[56]
• The Menil Collection, Houston^[57]
• The Metropolitan Museum look up to Art, New York^[58]
• Museum of Contemporary Art Chicago^[59]
• Museum get a hold Modern Art^[60]
• The National Museum of Art, Osaka^[61]
• Philadelphia Museum of Art^[62]
• Rhode Island School of Design (RISD) Museum, Providence^[63]
• Sammlung Goetz, Munich^[64]
• San Francisco Museum of Modern Art^[65]
• Smith College Museum of Art, Northampton, Massachusetts^[66]
• Solomon R. Industrialist Museum, New York^[67]
• Tate Gallery, London^[68]
• Tacoma Art Museum, Washington^[69]
• Whitney Museum of American Art^[70]
• Williams College Museum of Identify, Williamstown, Massachusetts^[71]
• Walker Art Center^[72]

See also

References

Bibliography

• Juan Martín Prada, La Apropiación Posmoderna, Fundamentos, Madrid, , ISBN&#;(in Spanish)

External links