Sherrie Levine rose to prominence as a member of the Pictures Generation, a group of artists based in New York in the late 1970s and 1980s whose work examined the structures of signification underlying mass-circulated images, and, in many cases, directly appropriated these images in order to imbue them with new, critically inflected meaning. Since then, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon as well as non-Western cultures.

Produced on the occasion of the exhibition Sherrie Levine’s Newborn at Galerie Deux, Tokyo, 1 December, 1995–16 March, 1996.

Continuing the artist’s interest in challenging modernist assumptions about originality and authenticity, this piece comprised recreations of Constantin Brancusi’s marble sculpture Newborn (1915) in glass placed on top of nine black baby grand pianos.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Sherrie Levine’s exhibitions at the Kunsthalle Zürich, the Westfälisches Landesmuseum Münster, the Rooseum Center for contemporary arts in Malmö and the Hôtel des arts in Paris. With a text by David Deitcher and Sherrie Levine in conversation with Jeanne Siegel.

Produced on the occasion of the exhibitions Pictures of the Real World (In Real Time) curated by Robert Nickas at The Consortium, Dijon; Paula Cooper Gallery, New York;  Le Capitou, Fréjus; Städtische Galerie, Göppigen; Galleria Massimo de Carlo, Milano, presenting On Kawara’s Date paintings in relation to various contemporary photographs.

Featuring the following artists; Dan Graham, Diane Arbus, Garry Winogrand, Douglas Huebler, Lee Friedlander, Larry Clark, William Eggleston, Nan Goldin, Peter Hujar, Jan Groover, Peter Campus, James Welling, Cindy Sherman, Sherrie Levine, Richard Prince, Barbara Bloom, Louise Lawler, Sam Samore, John Coplans, Barbara Ess, Andres Serrano, David Robbins, Jeanne Dunning, Zoe Leonard, Félix González-Torres, Philip-Lorca Di Corcia, Charles Ray, Robert Barry, Danny Lyon.

The oeuvre of American artist Sherrie Levine takes on one of the most radical and purist positions concerning the examination of existential questions of contemporary art: she transfers the great Platonic theme that Marcel Duchamp transported into the 20th century into the present.

The exhibition catalogue of the Städtisches Museum Leverkusen Schloss Morsbroich and the Musée d’Art Moderne et Contemporain de Genève illustrates the artist’s first European solo exhibition.

Rereading Appropriation reconsiders the artistic strategy of appropriation through later elaborated theories of affect, to explore how an understanding of ‘reciprocal investment’ reconfigures appropriation as an act that is based in connecting, acknowledging and being porous to material. Rereading Appropriation compiles texts read in the sister reading groups of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution during its Edition V – Appropriation and Dedication (2013–2014).