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Since her emergence in the late 1970s, Sherrie Levine has utilized diverse mediums to challenge conventional assumptions around autonomy, originality, and agency. Alongside contemporaries such as Cindy Sherman and Richard Prince who referenced the iconography of film and advertising, Levine turned her attention instead to the history of art. Probing the ways in which identity is generated through our relationship to images and forms, Levine’s works reckon with both the potentials and impediments of artistic production in the postmodern era.
The earliest work in this exhibition, Shoe Sale (1977), saw Levine selling seventy-five pairs of identical, store-bought children’s shoes at a storefront gallery in New York City. This established the artist’s enduring relationship with the readymade, an artistic development conceived in 1913 by Marcel Duchamp in which prefabricated objects are redefined as artworks through designatory and...More
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Press Release
Since her emergence in the late 1970s, Sherrie Levine has utilized diverse mediums to challenge conventional assumptions around autonomy, originality, and agency. Alongside contemporaries such as Cindy Sherman and Richard Prince who referenced the iconography of film and advertising, Levine turned her attention instead to the history of art. Probing the ways in which identity is generated through our relationship to images and forms, Levine’s works reckon with both the potentials and impediments of artistic production in the postmodern era.
The earliest work in this exhibition, Shoe Sale (1977), saw Levine selling seventy-five pairs of identical, store-bought children’s shoes at a storefront gallery in New York City. This established the artist’s enduring relationship with the readymade, an artistic development conceived in 1913 by Marcel Duchamp in which prefabricated objects are redefined as artworks through designatory and...More
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