Produced on the occasion of the exhibition Sherrie Levine, Mayhem at the Whitney Museum of American Art, New York, 10 November, 2011–29 January, 2012.

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.

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

Produced on the occasion of the exhibition Sherrie Levine at Galerie Nachst St Stephan, Vienna in May, 1988.

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.

*Please note this publication is secondhand and may have some traces of previous ownership. (Some damage to cover and spine)

Produced on the occasion of the exhibition Sherrie Levine at Simone Lee Gallery, London, 28 November, 2012–5 February, 2013.

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.

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.