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拍品专文
Sherrie Levine's fascination with the visionary French-American artist, Marcel Duchamp, began early in her career. Levine's Untitled (The Bachelors: "Gardien de La Paix"), is a prominent example of the artist's Duchampian, earlier work, from a series Levine embarked on in 1989. It is her interpretation of Duchamp's famed, ambitious piece in the collection of the Philadelphia Museum of Art titled The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), executed 1915-23.
In Levine's Untitled (The Bachelors: "Gardien de La Paix"), she extracts Duchamp's "bachelors" from between the glass panes, and renders them as frosted, cast glass objects in the third dimension. They exist as discrete readymade objects, each isolated in a vitrine of cherry wood. The vitrine reads as a cabinet of curiosity, one in which the "bachelor" exists in inaccessible seclusion. As Rosalind Krauss articulates the function of this feature in Levine's work: "It is the very isolation of Levine's Bachelor, that allows us to plot the array of possible connections, to see it not only as the little phallic part-object, the desiring-machine, but also as the slippery, undifferentiated surface of the closed form, Anti-Oedipus's body without organs, the locus of desire as an endless play of substitutions. And it is onto this deterritorialized body that the Levine effect can be plotted, produced" (Rosalind Krauss, "Bachelors," Sherrie Levine, Mary Boone Gallery, New York, September to October 1989).
Throughout her career, Levine has placed an emphasis on context. Context is central to her positions on art since Duchamp. She believes that meaning stems not in the origin of the object, but in its destination. In Untitled (The Bachelors: "Gardien de La Paix"), Sherrie Levine appropriates the imagery of Duchamps's The Large Glass and in doing so, rematerializes transient forms, engaging with the ambiguous ideas of source and context while revealing the extraordinary singularity of the object and its transformation.
In Levine's Untitled (The Bachelors: "Gardien de La Paix"), she extracts Duchamp's "bachelors" from between the glass panes, and renders them as frosted, cast glass objects in the third dimension. They exist as discrete readymade objects, each isolated in a vitrine of cherry wood. The vitrine reads as a cabinet of curiosity, one in which the "bachelor" exists in inaccessible seclusion. As Rosalind Krauss articulates the function of this feature in Levine's work: "It is the very isolation of Levine's Bachelor, that allows us to plot the array of possible connections, to see it not only as the little phallic part-object, the desiring-machine, but also as the slippery, undifferentiated surface of the closed form, Anti-Oedipus's body without organs, the locus of desire as an endless play of substitutions. And it is onto this deterritorialized body that the Levine effect can be plotted, produced" (Rosalind Krauss, "Bachelors," Sherrie Levine, Mary Boone Gallery, New York, September to October 1989).
Throughout her career, Levine has placed an emphasis on context. Context is central to her positions on art since Duchamp. She believes that meaning stems not in the origin of the object, but in its destination. In Untitled (The Bachelors: "Gardien de La Paix"), Sherrie Levine appropriates the imagery of Duchamps's The Large Glass and in doing so, rematerializes transient forms, engaging with the ambiguous ideas of source and context while revealing the extraordinary singularity of the object and its transformation.