This book examines the career of New York-based artist Sherrie Levine; whose 1981 series of photographs "after Walker Evans"mdash;taken not from life but from Evansrsquo;s famous depression-era documents of rural Alabamamdash;became central examples in theorizing postmodernism in the visual arts in the 1980s. For the first in-depth examination of Levine; Howard Singerman surveys a wide variety of sources; both historical and theoretical; to assess an artist whose work was understood from the outset to challenge both the label "artist" and the idea of oeuvremdash;and who has over the past three decades crafted a significant oeuvre of her own. Singerman addresses Levinersquo;s work after Evans; Brancusi; Malevich; and others as an experimental art historical practicemdash;material reenactments of the way the work of art history is always doubled in and structured by language; and of the ways the art itself resists.
#3146489 in eBooks 2013-04-16 2013-04-16File Name: B00CELQFSE
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