Gustave Flaubert. Un cœur simple
Sherrie Levine
1991
Gustave Flaubert. Un cœur simple
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Sherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and ...
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Gustave Flaubert. Un cœur simple
Sherrie Levine
1991
Ghent: Imschoot, uitgevers
58 pages
21 × 15 cm
Edition of 50; signed and numbered 43/50

Sherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and Edgar Degas, here she turns to Gustave Flaubert’s nineteenth-century short story “Un cœur simple”.


 


The story follows Félicité, a devoted and deeply religious servant whose shifting affections culminate in her mistaking a stuffed parrot for the Holy Ghost. By republishing and re-typesetting an early edition of the story, Levine questions conventional notions of authorship and originality.


 


Produced in 1991 as a limited edition of fifty copies, this literal and literary act of appropriation predates Richard Prince’s “The Catcher in the Rye” by two decades.

Ghent: Imschoot, uitgevers
58 pages
21 × 15 cm
Edition of 50; signed and numbered 43/50

Sherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and Edgar Degas, here she turns to Gustave Flaubert’s nineteenth-century short story “Un cœur simple”.

 

The story follows Félicité, a devoted and deeply religious servant whose shifting affections culminate in her mistaking a stuffed parrot for the Holy Ghost. By republishing and re-typesetting an early edition of the story, Levine questions conventional notions of authorship and originality.

 

Produced in 1991 as a limited edition of fifty copies, this literal and literary act of appropriation predates Richard Prince’s “The Catcher in the Rye” by two decades.

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Sherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and Edgar Degas, here she turns to Gustave Flaubert’s nineteenth-century short story “Un cœur simple”.

 

The story follows Félicité, a devoted and deeply religious servant whose shifting affections culminate in her mistaking a stuffed parrot for the Holy Ghost. By republishing and re-typesetting an early edition of the story, Levine questions conventional notions of authorship and originality.

 

Produced in 1991 as a limited edition of fifty copies, this literal and literary act of appropriation predates Richard Prince’s “The Catcher in the Rye” by two decades.

Ghent: Imschoot, uitgevers
58 pages
21 × 15 cm
Edition of 50; signed and numbered 43/50

Sherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and Edgar Degas, here she turns to Gustave Flaubert’s nineteenth-century short story “Un cœur simple”.

 

The story follows Félicité, a devoted and deeply religious servant whose shifting affections culminate in her mistaking a stuffed parrot for the Holy Ghost. By republishing and re-typesetting an early edition of the story, Levine questions conventional notions of authorship and originality.

 

Produced in 1991 as a limited edition of fifty copies, this literal and literary act of appropriation predates Richard Prince’s “The Catcher in the Rye” by two decades.

MORE BOOKS

Sherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and Edgar Degas, here she turns to Gustave Flaubert’s nineteenth-century short story “Un cœur simple”.

 

The story follows Félicité, a devoted and deeply religious servant whose shifting affections culminate in her mistaking a stuffed parrot for the Holy Ghost. By republishing and re-typesetting an early edition of the story, Levine questions conventional notions of authorship and originality.

 

Produced in 1991 as a limited edition of fifty copies, this literal and literary act of appropriation predates Richard Prince’s “The Catcher in the Rye” by two decades.

MORE BOOKS