Produced on the occasion of the exhibition Sherrie Levine/Joost van Oss: Sculpture at Paula Cooper Gallery, New York, 23 October–4 December, 1999.

Sherrie Levine and Joost van Oss’s collaborative exhibition consisted of an installation of two sculptures inspired by Dutch architect and designer Gerrit Rietveld — Berlin Chair (1923) and End Table (1923). Each sculpture consists of a set of 24 steel units. Arranged in a grid, the formation of these sculptures recalls the programmatic dispersal of 54 vertical cedar units in Carl Andre’s Flanders Field (1978) and Donald Judd’s large-scale floor pieces.

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

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.