- Sherrie Levine
- Art History, After Sherrie Levine
- Sherrie Levine Paintings, Bio, Ideas | TheArtStory
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In these pages, Levine's oddly doubled works appear as chimeras, taxidermy, fandom, pratfalls, even Poussin's Blind Orion. Annette Michelson and Kenneth White.
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Art History, After Sherrie Levine
Read more about Sherrie Levine. By Sherrie Levine in the Collection. Untitled Mr.
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- Sherrie Levine?
Austridge: 1. Untitled Double Lead Checks: 2. Lead Checks and Chevron: 9. After Walker Evans. Untitled after Walker Evans: negative 9.
Sherrie Levine Paintings, Bio, Ideas | TheArtStory
Levine critiques the core tenets of Modernism , calling into question the role of the romantic, artist-genius. Along with artists such as Cindy Sherman and Richard Prince , she questions how images are culturally constructed and the effects of their dissemination in a media-saturated age. Levine's work introduces perceptual questions about what exactly one is looking at and asks viewers to consider the reasons why we inherently trust and often fetishize values in art such as authenticity and originality.
While Levine sees her work as more of a collaboration with previous artists, in copying and replicating the work of male artists Levine also levels a feminist critique against the ingrained patriarchy of art history and society at large. Sherrie Levine was born in Hazelton, Pennsylvania, a coal-mining town, in She subsequently grew up in a suburb outside of Saint Louis, Missouri, where she frequented the Saint Louis Art Museum with her mother, who loved to paint.
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- Sherrie Levine, Untitled (After Edward Weston, ca. 1925).
Levine recalls that while she frequented the museum, much of her knowledge of art came from seeing reproductions in books and magazines. During college, Levine created Minimalist grid drawings that were met with acclaim from her professors but closely resembled contemporaneous works by Brice Marden.
Confronted with this similarity and the feeling that these drawings were an unsuccessful attempt at "reinventing the wheel," Levine turned to photography as a means to break through the impasse. Photography would later become the means by which Levine would return to the very problem of originality that led her to the medium in the first place. Her photographic reproductions of other art works trafficked more straightforwardly and brazenly with the question of copying and originality in art, thus securing her place as a key figure of postmodernism.
Levine actively eschews any mythologizing of the artist and so avoids discussing her personal life and relations for the record. Content compiled and written by The Art Story Contributors. Updated and modified regularly.