Announcement card produced on the occasion of an exhibition Jörg Immendorff: Schilderijen held at Seriaal bv, Amsterdam, 10 January–10 February, 1976.
*Please note this publication is secondhand and has some traces of previous ownership.
Announcement card produced on the occasion of an exhibition Jörg Immendorff: Schilderijen held at Seriaal bv, Amsterdam, 10 January–10 February, 1976.
*Please note this publication is secondhand and has some traces of previous ownership.
Produced on the occasion of Arakawa – Der Mechanismus der Bedeutung / John Cage (Kammerkunsthalle), at Kunsthalle Bern, 6 May–18 June, 1972. With text by Carlo Huber.
Produced on the occasion of the exhibition Sigurdur Gudmundsson, Recent Werk at Galerie Paul Andriesse, Amsterdam, 9 September–11 October, 1986.
*Please note this publication is secondhand and has some traces of previous ownership.
Announcement card produced on the occasion of an exhibition recent werk held at Seriaal bv, Amsterdam, 26 March– 27 April, 1977.
*Please note this publication is secondhand and has some traces of previous ownership.
Produced on the occasion of the exhibition A.R. Penck / Y.: schilderijen, gouaches, 25 November–23 December, 1978
*Please note this publication is secondhand and has some traces of previous ownership.
Card produced by Musée D’art Moderne et Contemporain, Geneva documenting Elaine Sturtevant’s work from the collection. Beuys La Rivoluzione siamo noi, 1988–1992, Tirage offset couleur, 97.8 × 53.5 cm, éd. 20/21.
The American artist Sturtevant is best known for her repetitions of the works of other artists, which she recreated manually from memory after having seen a piece that intrigued her. These can immediately be identified with the original, but they are not copies. The artists with whose work she engaged include her contemporaries in American Pop—Jasper Johns, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, Andy Warhol and Tom Wesselmann – as well as Marcel Duchamp, Joseph Beuys, Frank Stella, Félix González-Torres, Keith Haring and Anselm Kiefer, among others. Her aim was not to achieve an exact replica, but rather to address notions of authorship, authenticity and originality that would later come to the fore in our own digital age, characterised by the endless circulation and recombination of images.