Overview

"This book examines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs ""after Walker Evans"" - taken not from life but from Evans' famous depression-era documents of rural Alabama - 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 oeuvre - and who has over the past three decades crafted a significant oeuvre of her own. Singerman addresses Levine's work after Evans, Brancusi, Malevich, and others as an experimental art historical practice - 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."

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9780520267213

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A critical examination of how the art world's singular characterization of Levine's work began. -- Afterimage

Author Information

Howard Singerman is Professor of Contemporary Art and Theory at the University of Virginia and is the author of Art Subjects: Making Artists in the American University (UC Press).

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