Produced on the occasion of the exhibition Sherrie Levine: After Reinhardt at David Zwirner Gallery, New York, 28 February–20 April, 2019.

Sherrie Levine’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Since she rose to prominence as a member of the Pictures Generation of artists in the late 1970s and 1980s, 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, Mayhem at the Whitney Museum of American Art, New York, 10 November, 2011–29 January, 2012.

Sherrie Levine’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Since she rose to prominence as a member of the Pictures Generation of artists in the late 1970s and 1980s, 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’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Since she rose to prominence as a member of the Pictures Generation of artists in the late 1970s and 1980s, 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.