Published by JRP|Ringier. Edited with text by Susanne Gaensheimer, Antonia Hoerschelmann, Udo Kittelmann, Mario Kramer, Klaus Albrecht Schröder. Text by Michael Lobel.
Over the course of a half-century, Sturtevant (1924–2014) developed what is perhaps the most radical oeuvre of her generation. Concerned more with changing mental attitudes than with the reception of her art, she provoked the art world and the individual spectator by repeating the original works of contemporary artists. Astonishingly soon after the "originals" were made, she used them as source and catalyst, her intention being to, as she said, "expand and develop our current notions of aesthetics, probe originality and investigate the relation of origins to originality and open space for new thinking." She is most famous for these repetitions, but her early drawings, particularly the so-called "composite drawings" of the 1960s, also provide important clues for understanding the artist's radical conceptual work. This publication accompanies the first survey of Sturtevant's drawings, a focused exploration of her graphic work from 1964 to 2004.
Published by The Museum of Modern Art, New York. Text by Peter Eleey. Interview by Bruce Hainley and Michael Lobel.
Sturtevant has been repeating the works of her contemporaries since 1964, using some of the most iconic artworks of her generation as a source and catalyst to explore originality and authorship. Beginning with her versions of works by Jasper Johns and Andy Warhol, Sturtevant initially turned the visual logic of Pop art back on itself, probing uncomfortably at the workings of art history in real time. Yet her chameleonlike embrace of other artists' work is also what has allowed her to be largely overlooked in the history of postwar American art. As a woman making versions of the work of better-known male artists, she has passed almost unnoticed through the hierarchies of mid-century modernism and postmodernism, at once absent from these histories while nevertheless articulating their structures. Published to accompany the first retrospective of her work organized by a US museum, this publication presents Sturtevant as an artist who adopts style as her medium to expose aspects of art making, circulation and canonization. Featuring works drawn from all periods of her career and previously unpublished sketches from her archive, it links Sturtevant's earliest repetitions to the video works she has produced since 1998, providing a comprehensive overview of her practice while situating it firmly within postwar American culture. Sturtevant was born in Lakewood, Ohio, in 1924. She had her first solo show in 1965 at the Bianchini Gallery in New York. Solo exhibitions of her work have since been held at Deichtorhallen, Hamburg (1992), Museum für Moderne Kunst, Frankfurt (2004), Musée d'Art Moderne, Paris (2010) and Moderna Museet, Stockholm (2012). In 2011, Sturtevant received the Golden Lion for lifetime achievement at the 54th Venice Biennale.
Peter Eleey is Curator and Associate Director of Exhibitions and Programs at MoMA PS1.
Bruce Hainley is a Los Angeles-based writer and MFA professor of criticism and theory in the graduate program at the Art Center College of Design in Pasadena, California, and the Roski School of Fine Arts, University of Southern California. He is a contributing editor at Artforum and Frieze.
Michael Lobel is Professor of Art History at Hunter College.
Published by Walther König, Köln. Edited by Kathryn Rattee. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Daniel Birnbaum.
This flipbook reprises one of Sturtevant’s more recent works, Finite Infinite (2010)--a large-scale projection that features a dog running in an endless loop across an expanse of grass. Themes of repetition in Sturtevant’s art are explicated in an essay by Daniel Birnbaum.
Published by JRP|Ringier. Edited by Fredrik Liew. Text by Daniel Birnbaum, Bruce Hainley, Fredrik Liew, Paul McCarthy, Stéphanie Moisdon, Beatrix Ruf, Elaine Sturtevant.
This new catalogue on legendary appropriation artist Elaine Sturtevant (born 1930) features 30 works, ranging from her repetitions of works by artists such as Andy Warhol, Marcel Duchamp, Jasper Johns and Felix González-Torres, to four of her most recent large video installations.
Published by JRP|Ringier. Edited by Anne Dressen. Text by Bruce Hainley, Fabrice Hergott.
Since the mid-1960s, American conceptualist Elaine Sturtevant (born 1930) has been using her multidisciplinary practice to mercilessly interrogate the commercial and symbolic value of art and the male-driven art world. Working predominantly from memory, she copies iconic works by male artists such as Andy Warhol, Marcel Duchamp, Joseph Beuys and Frank Stella. Often indistinguishable from the originals, Sturtevant's painting, sculpture, video and photographic facsimiles force thorny issues of replica and simulacra, origin and difference, to a crisis point. Designed in close collaboration with the artist, The Razzle Dazzle of Thinking offers a compilation of Sturtevant's largely unpublished writings, along with a selection of essays on her life and work. Sturtevant and her rigorous, committed conceptual strategy are central to ongoing debates on the concept of originality in contemporary art and beyond.
Published by Walther König, Köln. Edited by Udo Kittelmann.
Venerable American Conceptualist Elaine Sturtevant has built a 40-year career with her copies of other artists' work. Fittingly, this clothbound artist's book with marbled paper draws upon Jorge Luis Borges' Pierre Menard, Author of the Quixote, an account--which indistinguishably blurs fact and fiction--of a translator who "re-creates" Cervantes' classic novel.
Published by Charta/Perry Rubinstein Gallery. Artwork by Elaine Sturtevant.
An art-world legend records that somebody once asked Andy Warhol about his process, to which he replied, “I don't know. Ask Elaine.” True or not, one thing is sure--Elaine Sturtevant likes to fake it. Working alongside her contemporaries since the mid-1960s, the artist is best known today for her reproductions of then-radical works by Andy Warhol, Frank Stella, Claus Oldenburg, Jasper Johns, Joseph Beuys, and others. Mainly absent from the art scene in the 1970s, Sturtevant reemerged in the 1980s, and has adhered to her rigorous conceptual strategy ever since, even re-creating Paul McCarthy's fabulously grotesque video performance, “The Painter” in 2002. Exploring notions of originality, replication and simulacra, Sturtevant's work has been a meditation on as much as a provocation of such concepts, and has continued to garner attention in her 40 years of practice in the fields of art history and philosophy. Included here are images of her re-installation of Marcel Duchamp's 1,200 coal bags at New York's Perry Rubinstein Gallery and stills from her 1967 film, Nude Descending a Staircase. Also represented is the artist's seven-channel video installation from 2003, The Dark Threat of Absence/Fragmented and Sliced.
PUBLISHER Charta/Perry Rubinstein Gallery
BOOK FORMAT Paperback, 8.5 x 11 in. / 120 pgs / 100 color.
PUBLISHING STATUS Pub Date 7/15/2005 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2005 p. 140
PRODUCT DETAILS ISBN 9788881585441TRADE List Price: $39.95 CDN $50.00
Volume 1: The Brutal Truth Volume 2: Catalogue Raisonné
Published by Hatje Cantz. Edited by Udo Kittelmann, Mario Kramer and Lena Maculan. Essay by Bernard BlistŔne. Interviews with Gerd de Vries and John Waters.
Since the mid-1960s, Ohio-born artist Elaine Sturtevant has been concerned with one the of the most important themes in Western art--originality. Now living and working in Paris, she reproduces existing paintings by artists such as Marcel Duchamp, Roy Lichtenstein, Andy Warhol, Jasper Johns and Frank Stella--to name just a few. Often indistinguishable from the originals, these works call attention to the crucial issues of origin and difference. Designed and produced in close collaboration with the artist, this opulently illustrated, two-volume publication is both a catalogue of her extensive oeuvre and an artist's book. Supplemented by probing essays and interviews, it offers an unprecedented overview of the unique and unparalleled work of this American artist.
Published by Hatje Cantz. Edited by Alexander Tolnay. Essays by Bernard BlistŔne and Bruce Hainley.
Since her first New York exhibition in 1965, when she showed copies of Warhol's flowers, John's flags, Oldenburg's soft sculptures, and a Rosenquist drawing, Elaine Sturtevant has made a sophisticated play of originality, authorship, and signature. Conceived by the artist herself, Shifting Mental Structures includes recent works.