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  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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    Pangaea: New Art From Africa And Latin America
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Forthcoming Exhibitions - Moretti Fine Arts

Gian Enzo Sperone in collaboration with Moretti Fine Art present

Sherrie Levine

Dates: 13th to 31st October 2008
Private Viewing: Tuesday 14th October 2008, 6 – 8pm

SHERRIE LEVINE (Hazelton, 1947), American photographer and conceptual artist, first gained critical attention for her work in the early 1980s when she was associated with artists such as Cindy Sherman, Robert Longo e David Salle, known as “Appropriationists” for their reuse and reworking of the media reality and contemporary popular culture.
Levine’s works are seen as a comment on the death of Modernism and its ideals, on the authenticity and autonomy of the artistic object and its status as everyday object. Through the photographic and three-dimensional reproduction of other artists’ works, Sherrie Levine clearly expresses her interest in furthering the post-structuralist debate about artistic heritage, but her theoretical rigour was complemented by a delicate, timid, if not remote, handling of materials, adding a sensuous dimension to an otherwise academic pursuit.

The works in bronze presented here, first exhibited at the Mary Boone Gallery in New York in 1989, are part of a single installation entitled The Bachelors, and are a personal representation of one of the most complex and fascinating works in the entire history of Western art: The Bride Stripped Bare by her Bachelors (also known as The Large Glass) by Marcel Duchamp.
In glass cases with a clinical appearance, Levine has placed three-dimensional adaptations of six of Duchamp’s nine malic moulds (representations of the various identities of the bachelor), symbolically freeing them from the glass which constrained them as part of a bizarre, visionary, amorous mechanism, but making them at the same time vulnerable.
The idea of isolating each “bachelor” from his companions, from the bride and from all his paraphernalia is precisely the aspect that Sherrie Levine adds to the French master’s work, and the installation thus becomes a model of loss and absence, a representation of desire which also plays with the fetishistic vision of the artistic object.



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