by Peter Zimmerman Catherine Ingraham’s essay that accompanies the 1999 Sherrie Levine / Joost van Oss collaborative exhibition at the Paula Cooper Gallery in New York City highlights three major facets of their collaborative works of appropriation. However, instead of being merely commentaries on the originals by Gerrit Rietveld, Levine and Oss re-write, and thereby […]

Response #2: “Disasters” as The Breaking Point

November 9, 2008 | Comments Off on Response #2: “Disasters” as The Breaking Point

– Peter Zimmerman You write, “I see the portrait as the framing of the human face within a 2-D plane, using the artist’s own emotive reading of the face in order to create a sense of the sitter.” I feel this coding of the portrait verges on the archaic, thereby not allowing for more plastic […]

-Peter Zimmerman So much time is spent discussing the role of photography in Sherrie Levine’s early work from the later 1970s/early 1980s; however, her movement into sculpture raises much of the same questions, but pushes the arguments even further. In photographic works like the “After Walk Evans” series or the President/Fashion portraits, Levine simultaneously presents […]

Theme: The 20th Century American Art Photographic Canon

September 22, 2008 | Comments Off on Theme: The 20th Century American Art Photographic Canon

– Peter Zimmerman Sherrie Levine’s photography of the late 1970s/early 1980s focuses on the cultural impact of authenticity, the esteem placed on the unique nature of authorship and the technical mode of production implicit in the photographic medium. However, within these larger and more broad discussions are slightly more nuanced attacks on the status quo […]