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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists-most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and "after" artists whose names have come to define modernism, making sculpture after Brancusi and Duchamp, paintings after Malevich and Blinky Palermo, watercolors after Matisse and Miro, photographs after Monet and Cezanne as well as Alfred Stieglitz. Throughout, Levine's practice effectively uncompleted, decentered, and extended works of art that were once singular and finished, posing critical rebuttals to some of the basic assumptions of modernist aesthetics. Her work was central to the theorization of postmodernism in the visual arts-most notably as it emerged in the pages of October magazine. It challenged authorial sovereignty and aesthetic autonomy and invited readings that opened onto gender, history, and the economic and discursive processes of the art world. This collection gathers writings on Levine from art magazines, exhibition catalogs, and academic journals, spanning much of her career.

Appropriation (Art) --- Appropriation (Art). --- Levine, Sherrie --- Levine, Sherrie. --- Criticism and interpretation. --- United States. --- 7.07 --- Appropriated imagery --- Appropriated images --- Appropriationism (Art) --- Postmodernism --- Imitation in art

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Hat man Ende der Siebzigerjahre dokumentarische und inszenatorische Bildstrategien als Gegenpole verstanden, so scheint diese Position heute zumindest auf den ersten Blick obsolet. Nicht nur die Kunstfotografie von Cindy Sherman oder Jeff Wall, sondern jede Fotografie ist als Kondensat einer Vielzahl einzelner Inszenierungsschritte zu verstehen, die erst in ihrer Aufschlüsselung als solche greifbar werden.

Photography --- Appropriation (Art) --- Mimesis in art --- Semiotics and art --- Themes, motives --- Photography - Themes, motives --- Mimesis in art. --- Semiotics and art. --- Art and semiotics --- Art --- Imitation in art --- Appropriated imagery --- Appropriated images --- Appropriationism (Art) --- Postmodernism --- Themes, motives.

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Konsumfashionista ist eine Gegenposition zum Fashion Victim. Konsumfashionista klagt nicht über verführte Opfer, sondern sucht Strategien der Rückeroberung und spürt aktive Formen von ästhetischen Widerständen auf in Feldern wie Mode, Makerszene, Mayday Ravekultur oder Kunst. Konsumfashionista verfolgt Ästhetiken des Konsums, verstanden als An- eignung von Konsumobjekten, als Kampfansage an den Ausschluss eines negativ besetzten Käuflichen. »Fashionista« spielt auch auf den zuweilen totalitären Charakter von Mode an und meint zugleich Wehrhaftigkeit eines mitgestaltenden Konsumenten. Grundlagenforschungen und Grundsatzüberlegungen von Heinz Drügh, Moritz Baßler, Christina von Braun, Thomas Hecken, Birgit Richard u.a. zu Populärkulturen und Alltag, Mode, Design, Kunst beschäftigen sich mit T-Shirts, Primark, Videoformat Vine, Plattencovern, Markenlogos, Haarspülungen sowie Geld und Schmuck.

Popular culture in art. --- Appropriation (Art) --- Consumption (Economics) in art. --- Fashion in art. --- Fashion as a topic in art --- Art --- Appropriated imagery --- Appropriated images --- Appropriationism (Art) --- Postmodernism --- Imitation in art

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The book offers the first retrospective overview of the artistic accomplishments of American conceptual artist Louise Lawler during the past twenty years. It also presents a number of very recent works. Lawler (born 1947 in Bronxville, New York) subjects the concept of art to critical analysis by photographing drawings, paintings, and sculptures and incorporating aspects of their immediate surroundings into these "copies." Viewed with a certain detachment, her demystified reproductions also reveal the contextual and situational connotations of the artworks, which recede to a certain extent into the background. In her own exhibitions Lawler restages and reflects on these institutionalizations and questions connotational shifts brought on by art industry. In the process, she makes it clear that the presentation - and thus the interpretation - of art can never be free of value judgments.

Lawler, Louise --- 77 LAWLER, LOUISE --- Fotografie--LAWLER, LOUISE --- Exhibitions --- 77 LAWLER, LOUISE Fotografie--LAWLER, LOUISE --- Art contemporain --- Photographie d'art --- Photographie-tableau --- Appropriation (Art) --- Photography of art --- Appropriated imagery --- Appropriated images --- Appropriationism (Art) --- Postmodernism --- Imitation in art --- Art --- Appropriation (Art) - Exhibitions --- Photography of art - Exhibitions --- Lawler, Louise - Exhibitions

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"Published in conjunction with the exhibition 'Louise Lawler: WHY PICTURES NOW', at The Museum of Modern Art, this volume charts the creative practice of one of the most influential artists working in the fields of picture-making and institutional critique. For the past 40 years, Louise Lawler has raised questions about art-about the circumstances that produce it, its circulation and the societal frameworks in which it appears. Many of the ideas that arise out of her work relate to theories of reception, the belief that the meaning of an artwork shifts and morphs depending on who looks at it and where it is seen. As the title of this publication suggests, many kinds of reception are possible"--

Photography of art --- Photography, Artistic --- Appropriation (Art) --- kunst --- kunst en politiek --- kunst en economie --- kunstmarkt --- 77.071 LAWLER --- 7.071 LAWLER --- concept art --- conceptuele kunst --- reproductie --- fotografie --- twintigste eeuw --- Verenigde Staten --- Lawler Louise --- appropriation art --- Appropriated imagery --- Appropriated images --- Appropriationism (Art) --- Postmodernism --- Imitation in art --- Lawler, Louise --- Exhibitions --- Art --- art [fine art] --- Lawler, Louise. --- art [discipline]