SHERRIE LEVINE MARCH 9- MAY 30, 1988N THE EARLY 1970s, SHERRIE LEVINE. scquired and subseqaently photographed seventy~ five pairs of odd, chid-sized bat adule-style shoes, Creating 4 record, litt, oF index of these strangely poignant objects. Several years later Levine sold the thoes ar the Mercer Street Score.! ‘Thus, from the beginning of her career, Levine has been attracted to aed gathered bjects. By extension, her work reveals the desire of others to porsess hose objecrs and defines Ft as x particularcategory of objects of desite Levine fret gained critical attention in the exaly 198M witen she was associated with Cindy Shermat, Robert Longo, Davi Salle, and other artistsknown as. ‘sppropriators’” because their work was based on images from popular culture. These artists (questioned the way that meanings become asignes te acid hor or why certain kinds of objects are read ” Levine alone borrowed her images directly ec soarrs She ft epotnaephed pheto= Andreas Feininget, E feston, Eliot from hi mph Porter, anc Walker Evann-—a. pracice she bas re- scp face pee aye rice ‘Alcmndcr Redcheio (6g). She bier tase clogs aed then watercolor from reproductions in art Troks of wortsby ach rene etnores Pet Mowdea, Vincent van Gogh, and Joan Mind. iach elles ooo Gec takes rire saeeneres on he deathof Mordernsm and abel in high iene ml racc oped ealeret erent commodity (her subjects were aleays reproductions, not the original works of art), While herwork was thus lela cherrueliaeeliadeecn cae society, ato projected a feating of lase—a deste for rca Bie tates fd by 'n desire 1 pomecs the spirh of the Sapeaks ont eval lsznker ta dc sapere bay jo and portcards te which her work ‘This exhibition'stwenty-four paintings were selected from four recent seria: the gold, white, and golden tenors” (fig. 3} and the “lead checks” (cover) At frst ince, the knats and checks seers uarelated to each other, oz to Levine's past work, and appear puzzl tad indecipherable otjca, Both humocoas eed ser= tous, they abound with art historial references and are subject to multiple incerpretations, ‘The keot paintings are simply plywood punch—a cheup andeasly wvailable material—on which theartte has marked, with the most minimal of gestures, the plugs that replice missing kno. Because Levine encised the panels in shadowbox frame and displayed them as “paintings” in the mst rraditional of mexlemn paar weer: made, an illusion to the found objects of Marcel Duchamp? Locking behind che frame and glass te the themselves, other inverpreta wood grain may refer to nature; the highlighting of the knetholes va the arbitrary since chance determined cheir placement and led them. upgtating absence. Thitabacace ‘a the subject of these paintings, at had been tn mich of Levine's previous work, Te shapes ofthe knotholes presen: a decidedly female imagery. Gilded or painted, thea feared aed put behind gles, they suggest traditional symbols of female sexsality desirable bet Uunaccainable, This series thus suggests a link between absence as the subject of her work, desire for possession, cd uefulilled sexual longing. “The check paintings are brightly colored scuares of casein paincon lend. Phey ellade to une bond, which are indeed their source, providing another reference to Duchamp, who st onetime said he was giving up art for chess. They also represent order and ys the tracition in Westem sbstract art from Mondrian to Bares Newman and B the unattainable and sublime. ‘The pairing of appurent opposites has also heen theme in several of Levine's exhibitions, In her 1984 exhibition at the Nature Morte Gallery in New York, Levine showed watercolors and cascin paintings after lyz Chasnik (ig. 2}, Kasinir Malevich, and Egon Schicle. That exhibition focused om th between figuration and abstraction or express cm td fora pty However snl beauty of Levine's raz Supers pirtings belies such clear-cut open nei nd Ged ais ecb sa ae boy epsom organic with the logical and geometric: stereozypical cli Marden associated with,Fig Dit fer cesar Redcat 1 Thc: Pres Zinta’ Fema, ory Mary Becre Mchd ‘of feminine and masculine. Yet the intimate scale of te cheeks, delicacy and irregularity of the paint strokes, and sweeess of the colors feminize theve otherwise ‘masculine images. These ave incongrucus paintings— beautiful yee fullof contradictions. Like the shoes, they remain strangely compelling objects. Phyllis Rosensaveig Associate Curator Hirshhorn Museum and Sculpture Garden {The Mere Sot Sore ano eine spe Se Dan Cn Potarr soos bl selene Finer Ua Chased), 4 Crna waa 20 x18 bes Te YOLUMINOUS CRITICISM ON Sherrie Levine's work has enveloped it lke ‘throud, obscaring the objects themselves under ascratchy weight. Her art has Been examined in ight of the modernist tradition of radicalism anc defined largely by what it is not. To maay Levine appeared to deny the validity of self-expresio slepted images by well-known artists, she aud recytled beth thelr images and our hallowed notions of originality. She was accused of emptying the meaning from art, of gutting cultural forms like an aesthetic terrorist. Yet to-view het work only through the veil of this rhetoric is to ignore the presence of the objects anid deem theirbeauty mere grist forthe mill of theory. The ssnue of careful making and carnestness that gives birth, cx rebirch, to these iriages preserves the criginalartis jntent as well as gives the works new meaning, Levine's objects have a delicate, romantic qual ty, 28 if exch decision and brushsiroke were made with delight. Colorin her recent works is jax, often‘watantly decorative and domestic, in contrast to "pure’‘eolors sanctioned by art of the past. Her objects hint of savored moments of solitude and a precious, studied repartee with their antecedents, and the subtle details are in keeping with her esrly experience as 2 printmaker, “The rerults of an inherently private, Ulsenfranchised activity, her artis in elfect che product of a typically female cottage industry. Although we admire and valve uch handmade arcles, the identity ff the one who labored to make itis usually of lle Consequence, The object ia preduced from « stance of favonymity, richer shan as « creative act of sof expression. Such issues reflect the feminist underpin- rings of Levine's work, underscored by ber appropris ‘Gon of images by only pivotal male aris. “The tension becwees the Angile senvuority of Levine's workand the distance she maintains paycho: logically gives hee art a hermetic quality—che “sub- ity ef alooiness™ vo whick she has referred. Her eric abstractions, most of which areanonymousl titled and made by the half-dozen or nest dozen in sera, have the ayinboke lok of “kaon” paintings Th nt a potluck of images emblematic of Con- racism, Mitimalis, Op Ar, and Color Fild tings. In relinquissing identity and self-expres- Sion, Levine distances herself in a mancever apparent control. Although revealing the private side ‘of ther artistic, endeaver (the reworking snd artist's touch she denies us accent te the more public side (the sreise an a personalicy). She shws presents the viewer with disturbing polarities—the most intimate and the mort calculated of actitudes. Tn her knot paintings (fig. 3) Levine used plywood! ‘utto ender onder froma lumber yard, paintingaver the ical phags used ta replace weak knors in the wood ‘Although chance dictated the Duchampan results there works strangely lack any impertinence. The knot forextmpleyhaveslroeg epic fectsas fhe pale gold ellipses float on the surface pattern of the plywesd, nacuraistic in contrase with the glistening conic eyes” The grain thus evokrs a seme of landecspe, the knots, as Levine mention, might be veils of rain or tears. Is this field of grain abso a visual non the stained canvases of Coler Field paintings” he reading: of the surreal images abound, asd in ‘patting these works behind glass, Levine romanticizee ‘their subject In a reversal of the alchemit’s mage, Levine followed her goldknots with paintings onbead (cover) — ‘moving from prectous ro potroncus material, from the ethereal to the elemental, Patterns of checks, derived from game boards and rendered in sugary colors, flout con the dark, heavy lead panels. Agnin, Levine isons to chance and gaming arc clear (her bock- shelves hold eatabogs of board gummes} These fourd images are quite humorously like archetyptl geometric pointings. The’ surfaces are fetching, but the objects Eppear ever so slighely like rave markers. CCectral to Levine's work has been her admiration of. an ultimate economy of means, Her new objects are ‘direct and dense: they have the power of that ccosomy fnd the uscanny abshty to invite references ta etrezm in through the sice coor. Levine wes the intellectval pleasuresand wicof Conceptualism with thefundamen- {al enjoyment of the craft of painting and the skill of locking, She thus scems toasserta new theory of artistic practice atshe maneuvers among the images of the old. Susan Krane Curator of Twentieth Century drt High Museum of Art 1, teree, mpl statement e180) i Benais HED. Beste, Z Pocedarespprprstintnd MecngeinCotnpney A Aetfare 2 Soper FO 8 “Ta exh spore in ae by unt fm the Shi tion Spel Eat Fu “Tsccahithien athe High Mace ht ben made psedy a pnt {2 Lewes el Ak acy Foanuin, An, cael aPC Woon Gopcent Peper Incenre Pie enor Bdge the Feith {heuy Scneyofebe High emu ofig. 5. Ue (ald Ke 6), 1, Meal patonpywaod under gn 10 a iches ieBIOGRAPHY ‘Geman Hazeton, Peeves. Agr 17. 1947 ucated ate Unweruty cf Wecoren sega, 5, ar TER MEA, THT. ees an werk in How vert iy SELECTED SOLO EXHIBITIONS: NOTE cn Salon At Gabe, Unversity of ‘Calter at Sarva Camm 1972 Hahei Buta, M24 UL Artwots New Yd (a0 1584). 11969. Restart ¢ wasson. ew York (aie Tes), RlenaraRerverecrama ‘Galery. Los Angeles ko 1985), AGE Eahations, washington. 1C. aa Mera, Ma Yor Dare! Weinberg Galery, Los Angalon \uany Gaone: Michael Weene: Gar, ew Yow: Donest Your try (Oncaga Wedwaerm Atrenesm, heteed SELECTED GROUP EXHIBITIONS, 1977 dei Space, New Yor Riches ae x 1981 Moto Petre, New Yee, Pato, OR Museum Ficeiconam, Kassel West Goomany, Document 7, Airis ot Omega, Sevenyfout American anes: sian cf Censemporary ‘Ghia, Ait and Social Change UA 1964 Heanor Maser and Salts ‘Garten Washington, 0.5. Content ‘ACantemparary Focus: New Munem ‘ot Cantamgarar Ar, New Yor. DF- ference: On flepreseatitonand Sexuat. fy, end or 1985 whiney Museum of Amedcen At Now “York Blane Zanoion ‘YO Art Gatery o Mew Sen Ws. Syomey, Ausra, gn Oras an ‘ayant Thea Sixt Brenna Samer: Insite ox Cortomony a. Gost. Enagame: Pelee and Sevunition Recent Painting and Septic. 1987 Furdscion Cam dos Pensicres Macht “Acton is Date, SELECTED BIBLIOGRAPHY ‘Contarnpoeay At" Aranan 2) (Septoriber 19824 19-56. Douglas Cin. “The Pretogmagiac Actey of ‘oxtmedorniam.” October "8, (nor ‘pbay 51-102 ‘Gera Marzera, “Artin Be (akg. ‘Arms 85 (ay 1986 90-89, ‘Stephen W, Mave “Not Pasting: The New Werk of Sara Leaina" ats #0 (Fabriary 1986} 120, Jeanne Sogel "Ato Share Laven" Ars: 29 (Gummer 1885) 14d Foul Fayor “Sharia Levine Pays wih Paul “Tava Pas rt $36 (Sura 1087, Pa Lay Wel ao. “Taking Abstract Pat Two" Ant ‘Ames 75 (Becerbor 1987) 1 CHECKLIST United (Gokt Kos: 1 1868. Metalic pai en plywood under gas 20» 18 inches. Boe snd Memran Zeger, New York Unieed (Gots ots 4), 1985, stale pint on pywaed under gas 20 x 16 inches betes ered Carl Gooey, Mew York (unnmed (Gots Kes: 6, 1885. Metalic pant on pymtod ender gana, 20x 16 inches. Pret eestor uno (act nats). 190% Meters cen piwood under ols. 203 16iched (Colecten al tarts, unieg (Gost Keone #0), 1985, Metalic part fon piyncad undee glass, 20x 18inches. Armar ad Caro Gaara, Hew Yor Unio (Gait Kore 11), 1985. Metab pat on piyaeod under ls 201 1Ginenes ‘ours Mary Gore Galery. New Yer. Uneng White Kroes 4). 1988. Cason piywood uncer clams 13 x 25 chen Pris and Bit Marc. Hew Yor Uninet whe Krctef), 1988 Cosain.on ywoed under gasp, 37 x 254 inches. The. ‘Masours of Coniomsoary Ar. a Angas, gftot Data Winder reed (white Knots: 8, 1908 Cazoin on iywooe urd glass. 30% 125% niches Me fan Men. Mee 4. Exe, Waatsngon, ‘Uri (white Knits), 1996, Cazeincn plywced ude asa S13 258 mona. Unde cwste Kats 11), 1988. Case ‘phywaca under glass, 24 « 26% chen Fruate colecton. Uriel (Gokien Koos 1), 1987. Ol co Direaoe under plxigtos, 61x Sh inches. Ceureny Marga Lean Gabor Los Angas Urtieg (Golden Knots 2), 1087. on Pyiead une ploiglans 614 BE ican, Maren. Zermanran, Chiesa Ure (Golden Kok 3) 1087, oe ‘irwoed under leaps 81x 50H inches Castesy horas Armen, Zach. Lunt (Goksen Knots, 1887. or Diced uncer placgiaes, ST iex SO ncnes. ‘Tra Bachan Cotacton, tw Caraar, Com Untled (Gotten Hot 5). 1887. Con iywood unde placgss OT irx Sm nenes. ‘Mora and Son Rubell Now Yosh. User (Goloen Kon 6). 1967.4 08 ‘Prwond undo: pocgies 611k «Be chose. Preata cotecton Uninc (Lead Checks 1), 1987, Cavan on lead, 220 inches Cars ar Paul Meringat O14 Westbury, New Yes Unites (Leas Checks 2,887. Casen on tea, 205120 inch Th Fro Foos Colec- ten, 2am Samoerane Unmet (Lead Cprcas 4), 1987 Cason on fos 20:<20 nenes. Ema Farr cana, re How ore LUraeefenao Checks 3.1987. Cason ae toad. 20620 nehne Barra Guggemers ‘Masccinten, New Yor Une (hoe Creche) 1987. Cason.on tend, 20 220 rctas, on ane Mary Papeaiot Des Mores, Unie (ese Cracks: 7, 987. Cogan on lend, 2020 ches. Leo Casilk Now York