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拍品专文
"A work of art. Something you experience in a visceral sense, because I believe that intellectual experiences are stronger when related to sensual experiences, a sense of the world. I sometimes paraphrase Lawrence Weiner on this; he said that he wanted to make art that throws you back on the physical world, that makes you think about your relationship to the physical world. I think that's a wonderful way to think about artmaking." (S. Levine, quoted in "Sherrie Levine," Journal of Contemporary Art, reproduced at: https://www.jcaonline.com/slevine.html).
“I consider myself a still-life artist, with the bookplate as my subject. I want to make pictures that maintain their reference to the bookplates. And I want my pictures to have a material presence that is as interesting as, but quite different from, the originals.” -Sherrie Levine
Cast in 2008, Dada is an example of Sherrie Levine’s enduring investigation into the appropriation, authorship, and codes of representation. Cast in bronze, the highly polished hobby-horse is placed on the floor inhabiting the space populated by the audience, inviting us to engage with it.
Sherrie Levine rose to prominence as part of the Pictures Generation in the late 1970’s and early 1980’s alongside Cindy Sherman and Richard Prince. Artists from this movement investigate the historical and cultural significance of iconic artwork through the medium of photography. Levine, through the daring act of appropriating well-known photographs in series such as her iconic, After Walker Evans, puts Walker’s images through the very same process of photography that created them to become hallmarks of postmodernism. Since the late 1980s, Levine has extended her investigation into the three-dimensional realm with sculptural "realizations" of iconic masterpieces, such as in La Fortune (After Man Ray), 1990, or the Duchampian Fountain (Madonna), 1991.
Appropriation, the act of borrowing, copying, or replicating a work and turning it into a new artwork has its roots in the early 20th century, and in particular the Dada movement. Artists like Hannah Höch took images from printed media to create political collages on paper. Marcel Duchamp, a leading figure associated with the Dada movement introduced the concept of the readymade, a prefabricated often mass-produced object, such as a stool or a hat rack, which becomes "art" by being labeled so by the artist.
Like the Dada artists of the early 20th century, the appropriation artists of the 1980s focused on the re-contextualization of an existing object, challenging concepts of originality and authorship. The cast for Levine’s Dada was taken from a wooden hobby-horse that Levine found in New Mexico, where she currently resides. Like the object, the title of the work, Dada, is also borrowed. "Dada," a name that was playfully taken on by the artists, comes from the French word for hobby-horse, and was chosen at random from a dictionary by Dadaist leaders in Zurich, Switzerland.
This spirited, refined design is both an evocation of childhood and a sophisticated sculptural double-take on cultural associations and preconceptions, consumerism and the value of objects. By taking this common object out of its context, transfiguring it and placing it in an unfamiliar environment, the object becomes oddly remote yet familiar, a recurrent theme in Levine’s work. Levine’s preoccupation with the idea of the amended and re-contextualized copy has had an important impact upon our thinking today about the status of the artwork.
“I consider myself a still-life artist, with the bookplate as my subject. I want to make pictures that maintain their reference to the bookplates. And I want my pictures to have a material presence that is as interesting as, but quite different from, the originals.” -Sherrie Levine
Cast in 2008, Dada is an example of Sherrie Levine’s enduring investigation into the appropriation, authorship, and codes of representation. Cast in bronze, the highly polished hobby-horse is placed on the floor inhabiting the space populated by the audience, inviting us to engage with it.
Sherrie Levine rose to prominence as part of the Pictures Generation in the late 1970’s and early 1980’s alongside Cindy Sherman and Richard Prince. Artists from this movement investigate the historical and cultural significance of iconic artwork through the medium of photography. Levine, through the daring act of appropriating well-known photographs in series such as her iconic, After Walker Evans, puts Walker’s images through the very same process of photography that created them to become hallmarks of postmodernism. Since the late 1980s, Levine has extended her investigation into the three-dimensional realm with sculptural "realizations" of iconic masterpieces, such as in La Fortune (After Man Ray), 1990, or the Duchampian Fountain (Madonna), 1991.
Appropriation, the act of borrowing, copying, or replicating a work and turning it into a new artwork has its roots in the early 20th century, and in particular the Dada movement. Artists like Hannah Höch took images from printed media to create political collages on paper. Marcel Duchamp, a leading figure associated with the Dada movement introduced the concept of the readymade, a prefabricated often mass-produced object, such as a stool or a hat rack, which becomes "art" by being labeled so by the artist.
Like the Dada artists of the early 20th century, the appropriation artists of the 1980s focused on the re-contextualization of an existing object, challenging concepts of originality and authorship. The cast for Levine’s Dada was taken from a wooden hobby-horse that Levine found in New Mexico, where she currently resides. Like the object, the title of the work, Dada, is also borrowed. "Dada," a name that was playfully taken on by the artists, comes from the French word for hobby-horse, and was chosen at random from a dictionary by Dadaist leaders in Zurich, Switzerland.
This spirited, refined design is both an evocation of childhood and a sophisticated sculptural double-take on cultural associations and preconceptions, consumerism and the value of objects. By taking this common object out of its context, transfiguring it and placing it in an unfamiliar environment, the object becomes oddly remote yet familiar, a recurrent theme in Levine’s work. Levine’s preoccupation with the idea of the amended and re-contextualized copy has had an important impact upon our thinking today about the status of the artwork.