By Howard Singerman

This publication examines the occupation of latest York-based artist Sherrie Levine, whose 1981 sequence of pictures "after Walker Evans"—taken no longer from lifestyles yet from Evans’s recognized depression-era records of rural Alabama—became vital examples in theorizing postmodernism within the visible arts within the Eighties. For the 1st in-depth exam of Levine, Howard Singerman surveys a wide selection of resources, either historic and theoretical, to evaluate an artist whose paintings used to be understood from the outset to problem either the label "artist" and the belief of oeuvre—and who has during the last 3 many years crafted an important oeuvre of her personal. Singerman addresses Levine’s paintings after Evans, Brancusi, Malevich, and others as an experimental artwork old practice—material reenactments of ways the murals background is usually doubled in and dependent by means of language, and of the methods the paintings itself resists.

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Art History, After Sherrie Levine by Howard Singerman


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