Art History, After Sherrie Levine

This Book Examines The Career Of New York-based Artist Sherrie Levine, Whose 1981 Series Of Photographs After Walker Evans--taken Not From Life But From Evans's Famous Depression-era Documents Of Rural Alabama--became Central Examples In Theorizing Postmodernism In The Visual Arts In The 1980s. For The First In-depth Examination Of Levine, Howard Singerman Surveys A Wide Variety Of Sources, Both Historical And Theoretical, To Assess An Artist Whose Work Was Understood From The Outset To Challenge Both The Label Artist And The Idea Of Oeuvre--and Who Has Over The Past Three Decades Crafted A Significant Oeuvre Of Her Own. Singerman Addresses Levine's Work After Evans, Brancusi, Malevich, And Others As An Experimental Art Historical Practice--material Reenactments Of The Way The Work Of Art History Is Always Doubled In And Structured By Language, And Of The Ways The Art Itself Resists.