Bibliografías temáticas / Sherrie Levine

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Literatura académica sobre el tema "Sherrie Levine"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 19 de febrero de 2023

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Artículos de revistas sobre el tema "Sherrie Levine"

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Singerman, Howard. "Sherrie Levine: On Painting." Res: Anthropology and aesthetics 46 (September 2004): 202–20. http://dx.doi.org/10.1086/resv46n1ms20167647.

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Levine, Sherrie. "For Douglas Crimp." October 171 (March 2020): 150–51. http://dx.doi.org/10.1162/octo_a_00384.

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Trespeuch, Hélène. "Sherrie Levine : de l’appropriationnisme au simulationnisme." Marges, no. 17 (November 1, 2013): 44–53. http://dx.doi.org/10.4000/marges.127.

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Charles, Bertrand. "Sherrie Levine et l'appropriation : imposture ou acte créateur ?" Sociétés & Représentations 33, no. 1 (2012): 129. http://dx.doi.org/10.3917/sr.033.0129.

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TRODD, TAMARA. "THOMAS DEMAND, JEFF WALL AND SHERRIE LEVINE: DEFORMING ‘PICTURES’." Art History 32, no. 5 (November 12, 2009): 954–76. http://dx.doi.org/10.1111/j.1467-8365.2009.00713.x.

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Buskirk, Martha, Sherrie Levine, Louise Lawler, and Fred Wilson. "Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson." October 70 (1994): 98. http://dx.doi.org/10.2307/779055.

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Schwartz, Stephanie. "Revolution and After." October 158 (October 2016): 126–54. http://dx.doi.org/10.1162/octo_a_00274.

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In 1988, the Cuban collective ABTV engaged in its first of several acts of art-historical homage. ABTV (Tanya Angulo, Juan Pablo Ballester, José Ángel Toirac, and Illeana Villazón) photocopied reproductions of Sherrie Levine's After Series, the now canonical work of postmodernism in which Levine rephotographed reproductions of selection of photographs by America's white male modernist masters. This essay takes ABTV's homage as the starting point for an inquiry into the relationship between postmodernism and postcolonialism. How, it asks, has an obsession with “ends” shaped our histories of pho
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Fabris, Annateresa. "Reivindicação de nadar a sherrie levine: autoria e direitos autorais na fotografia." ARS (São Paulo) 1, no. 1 (2003): 59–64. http://dx.doi.org/10.1590/s1678-53202003000100006.

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Elkins, James. "La Persistance du "tempérament artistique" comme modèle : Rosso Fiorentino, Barbara Kruger, Sherrie Levine." Ligeia N°17-18, no. 1 (1995): 19. http://dx.doi.org/10.3917/lige.017.0019.

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Coëllier, Sylvie. "De la peinture aux « concepts visuels » : les appropriations de Sherrie Levine et d’André Raffray." Ligeia N°25-28, no. 1 (1998): 13. http://dx.doi.org/10.3917/lige.025.0013.

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Tesis sobre el tema "Sherrie Levine"

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Batorowicz, Beata Agnieszka, and n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship." Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.

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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity i
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Kratovic, Belma. ""Duchampianska" praktiker inom samtidskonsten." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411826.

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This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement.       The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however
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Jhao, jian-hung, and 趙健宏. "Rethinking Modernism: Sherrie Levine and Louise Lawler’s Photography." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/7m39a9.

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碩士<br>國立中央大學<br>藝術學研究所<br>103<br>In 1977, art crtic Douglas Crimp (1944-) curated an exhibition named “Pictures,” establishing a new wave in contemporary art which is different from Modernism, and pioneering the tendency of Postmodernism. These artists have a whole new sense for pictures. They are not concerned with what pictures depict. All they care is what pictures are about. Sherrie Levine (1947-) is one of best-known artists among them. In the 1980s, she rephotographed a series of artists‟ works. She not only questioned Modernism‟s principle of “originality,” but also reflected on how the
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Vieira, Ana Rita 1991. "A imagem depois da imagem : simulacros da paisagem." Master's thesis, 2015. http://hdl.handle.net/10451/18404.

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“A Imagem depois da Imagem: Simulacros da Paisagem” is a theoretical and practical essay that reflects on the rules and conventions of photography. When we apply a new context to an image we are giving it a new chance to live, by creating a new interpretation. Considering that the landscape is not a physical space but rather a set of ideas and emotions that we create from a place, I consider this artistic project as a simulacrum of the representation of landscape. Since the very concept of landscape is fiction, one of it's forms of representation is the possibility that the viewer can travel
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"The Source of Appropriation: Sherrie Levine's After Walker Evans Suite." Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-05012007-094544/.

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Saraiva, Catarina 1973. "Espelhos e reflexos." Master's thesis, 2012. http://hdl.handle.net/10451/6333.

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Tese de mestrado, Pintura, (Variante Curricular I), Universidade de Lisboa, Faculdade de Belas Artes, 2012<br>This dissertation is part of my Master‟s Degree in Painting (course variant I), at Faculdade de Belas Artes, Universidade de Lisboa. Its objective is to present a reflection on such concepts as body, identity, duplication, fragmentation or distortion, and how they mould a variety of approaches to the representation and construction of the feminine. Throughout the history of Western Art, the mirror, as an attribute of seduction, has accompanied the image of the woman. In contemporaneity
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Libros sobre el tema "Sherrie Levine"

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Levine, Sherrie. Sherrie Levine. Zurich: Kunsthalle, 1991.

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Levine, Sherrie. Sherrie Levine. Genève: Musée d'Art Moderne et Contemporaine, 1998.

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Temkin, Ann. Sherrie Levine: Newborn. Philadelphia: Philadelphia Museum of Art, 1993.

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Sherrie, Levine, Sussman Elisabeth 1939-, Crow Thomas E. 1948-, and Whitney Museum of American Art, eds. Sherrie Levine: Mayhem. New York: Whitney Museum of American Art, 2012.

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Sherrie, Levine, ed. Art history, after Sherrie Levine. Berkeley: University of California Press, 2012.

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Everall, Gavin. After Lyotard: The "sublime" and Sherrie Levine. London: Middlesex University, 1994.

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Levine, Sherrie. Sherrie Levine: 9 September to 14 October 1989. New York, NY: Mary Boone Gallery, 1989.

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Boone, Mary. Sherrie Levine: 12 September to 10 October 1987. New York: Mary Boone Gallery, 1987.

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Ferguson, Bruce. Sherrie Levine, fountain: 4 May to 29 June 1991. New York: Mary Boone Gallery, 1991.

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Reuse value: Spolia and appropriation in art and architecture, from Constantine to Sherrie Levine. Farnham, Surrey, UK, England: Ashgate, 2011.

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Capítulos de libros sobre el tema "Sherrie Levine"

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Trodd, Tamara. "Thomas Demand, Jeff Wall and Sherrie Levine: Deforming ‘Pictures’." In Photography after Conceptual Art, 130–52. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444391503.ch8.

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Coëllier, Sylvie. "Les démarches «appropriationnistes» de Sherrie Levine et d’André Raffray: Deux pratiques critiques de la construction de l’histoire de l’art «moderniste» et de ses oublis." In Memory & Oblivion, 1007–11. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_119.

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"Sherrie Levine." In Bachelors. The MIT Press, 1999. http://dx.doi.org/10.7551/mitpress/1504.003.0007.

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"Series Preface." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0001.

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"Acknowledgments." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0002.

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"Pictures." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0003.

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"The Photographic Activity of Postmodernism." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0004.

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"The Originality of the Avant-Garde: A Postmodernist Repetition (excerpt)." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0005.

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"Sherrie Levine at A&M Artworks." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0006.

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"The Discourse of Others: Feminists and Postmodernism (excerpt)." In Sherrie Levine. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11914.003.0007.

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