Studies for Warhols’ Marilyns, Beuys' Actions and Objects, Duchamps’ etc. Including Film
Elaine Sturtevant
1973
Studies for Warhols’ Marilyns, Beuys' Actions and Objects, Duchamps’ etc. Including Film
Studies for Warhols’ Marilyns, Beuys' Actions and Objects, Duchamps’ etc. Including Film
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Influenced by French philosopher Gilles Deleuze’s seminal doctoral thesis, Difference and Repetition (1968), American artist Elaine Sturtevant built an entire career around appropriating and altering the work of fellow artists. For her iconic exhibition at ...
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Studies for Warhols’ Marilyns, Beuys' Actions and Objects, Duchamps’ etc. Including Film
Elaine Sturtevant
1973
Syracuse: Everson Museum of Art
Unpaginated [104 pages]
28 × 21.5 cm

Influenced by French philosopher Gilles Deleuze’s seminal doctoral thesis, Difference and Repetition (1968), American artist Elaine Sturtevant built an entire career around appropriating and altering the work of fellow artists. For her iconic exhibition at the Everson Museum of Art in Syracuse in 1973, she conceived a conceptual subversion of authorship, articulated through six rooms displaying copies, reproductions, or recordings of moving images, paintings, sculptures, and readymades by Andy Warhol, Joseph Beuys, and Marcel Duchamp.


 


By questioning the emerging mythology of the art system, she positioned herself as a meta-appropriationist. While mainstream critics at the time dismissed her works as mere “copies”, Warhol himself would often reply, when asked about his silkscreens, “I don’t know. Ask Elaine.”


 


Decades later, Sturtevant is recognised as a visionary artist and a paradigm shifter. This exhibition catalogue, edited in collaboration with Judson Rosebush, stands as one of the most remarkable acts of appropriation in art history. The logic behind its conception is deciphered by curator James Harithas in a disclaimer placed towards the end:


 


“Art adds its own process as content to the original. The source remains visible. Duchamp concludes that a work of art is completed by the viewer’s response. Art + response = creative dynamic. Sturtevant eliminates references. Response/source + process = source/resource. A:B::A:A+B”


 


The book unfolds as a suite of photocopies of reproductions of artworks by Warhol, Beuys, and Duchamp, manipulated with graphic elements. In 2014, artist Ciprian Mureșan created a large-scale meta-appropriation of Sturtevant’s publication in All Images from an Elaine Sturtevant Book, meticulously redrawing it as a unique work, now held in Tate’s collection.

Syracuse: Everson Museum of Art
Unpaginated [104 pages]
28 × 21.5 cm

Influenced by French philosopher Gilles Deleuze’s seminal doctoral thesis, Difference and Repetition (1968), American artist Elaine Sturtevant built an entire career around appropriating and altering the work of fellow artists. For her iconic exhibition at the Everson Museum of Art in Syracuse in 1973, she conceived a conceptual subversion of authorship, articulated through six rooms displaying copies, reproductions, or recordings of moving images, paintings, sculptures, and readymades by Andy Warhol, Joseph Beuys, and Marcel Duchamp.

 

By questioning the emerging mythology of the art system, she positioned herself as a meta-appropriationist. While mainstream critics at the time dismissed her works as mere “copies”, Warhol himself would often reply, when asked about his silkscreens, “I don’t know. Ask Elaine.”

 

Decades later, Sturtevant is recognised as a visionary artist and a paradigm shifter. This exhibition catalogue, edited in collaboration with Judson Rosebush, stands as one of the most remarkable acts of appropriation in art history. The logic behind its conception is deciphered by curator James Harithas in a disclaimer placed towards the end:

 

“Art adds its own process as content to the original. The source remains visible. Duchamp concludes that a work of art is completed by the viewer’s response. Art + response = creative dynamic. Sturtevant eliminates references. Response/source + process = source/resource. A:B::A:A+B”

 

The book unfolds as a suite of photocopies of reproductions of artworks by Warhol, Beuys, and Duchamp, manipulated with graphic elements. In 2014, artist Ciprian Mureșan created a large-scale meta-appropriation of Sturtevant’s publication in All Images from an Elaine Sturtevant Book, meticulously redrawing it as a unique work, now held in Tate’s collection.

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Influenced by French philosopher Gilles Deleuze’s seminal doctoral thesis, Difference and Repetition (1968), American artist Elaine Sturtevant built an entire career around appropriating and altering the work of fellow artists. For her iconic exhibition at the Everson Museum of Art in Syracuse in 1973, she conceived a conceptual subversion of authorship, articulated through six rooms displaying copies, reproductions, or recordings of moving images, paintings, sculptures, and readymades by Andy Warhol, Joseph Beuys, and Marcel Duchamp.

 

By questioning the emerging mythology of the art system, she positioned herself as a meta-appropriationist. While mainstream critics at the time dismissed her works as mere “copies”, Warhol himself would often reply, when asked about his silkscreens, “I don’t know. Ask Elaine.”

 

Decades later, Sturtevant is recognised as a visionary artist and a paradigm shifter. This exhibition catalogue, edited in collaboration with Judson Rosebush, stands as one of the most remarkable acts of appropriation in art history. The logic behind its conception is deciphered by curator James Harithas in a disclaimer placed towards the end:

 

“Art adds its own process as content to the original. The source remains visible. Duchamp concludes that a work of art is completed by the viewer’s response. Art + response = creative dynamic. Sturtevant eliminates references. Response/source + process = source/resource. A:B::A:A+B”

 

The book unfolds as a suite of photocopies of reproductions of artworks by Warhol, Beuys, and Duchamp, manipulated with graphic elements. In 2014, artist Ciprian Mureșan created a large-scale meta-appropriation of Sturtevant’s publication in All Images from an Elaine Sturtevant Book, meticulously redrawing it as a unique work, now held in Tate’s collection.

Syracuse: Everson Museum of Art
Unpaginated [104 pages]
28 × 21.5 cm

Influenced by French philosopher Gilles Deleuze’s seminal doctoral thesis, Difference and Repetition (1968), American artist Elaine Sturtevant built an entire career around appropriating and altering the work of fellow artists. For her iconic exhibition at the Everson Museum of Art in Syracuse in 1973, she conceived a conceptual subversion of authorship, articulated through six rooms displaying copies, reproductions, or recordings of moving images, paintings, sculptures, and readymades by Andy Warhol, Joseph Beuys, and Marcel Duchamp.

 

By questioning the emerging mythology of the art system, she positioned herself as a meta-appropriationist. While mainstream critics at the time dismissed her works as mere “copies”, Warhol himself would often reply, when asked about his silkscreens, “I don’t know. Ask Elaine.”

 

Decades later, Sturtevant is recognised as a visionary artist and a paradigm shifter. This exhibition catalogue, edited in collaboration with Judson Rosebush, stands as one of the most remarkable acts of appropriation in art history. The logic behind its conception is deciphered by curator James Harithas in a disclaimer placed towards the end:

 

“Art adds its own process as content to the original. The source remains visible. Duchamp concludes that a work of art is completed by the viewer’s response. Art + response = creative dynamic. Sturtevant eliminates references. Response/source + process = source/resource. A:B::A:A+B”

 

The book unfolds as a suite of photocopies of reproductions of artworks by Warhol, Beuys, and Duchamp, manipulated with graphic elements. In 2014, artist Ciprian Mureșan created a large-scale meta-appropriation of Sturtevant’s publication in All Images from an Elaine Sturtevant Book, meticulously redrawing it as a unique work, now held in Tate’s collection.

MORE BOOKS

Influenced by French philosopher Gilles Deleuze’s seminal doctoral thesis, Difference and Repetition (1968), American artist Elaine Sturtevant built an entire career around appropriating and altering the work of fellow artists. For her iconic exhibition at the Everson Museum of Art in Syracuse in 1973, she conceived a conceptual subversion of authorship, articulated through six rooms displaying copies, reproductions, or recordings of moving images, paintings, sculptures, and readymades by Andy Warhol, Joseph Beuys, and Marcel Duchamp.

 

By questioning the emerging mythology of the art system, she positioned herself as a meta-appropriationist. While mainstream critics at the time dismissed her works as mere “copies”, Warhol himself would often reply, when asked about his silkscreens, “I don’t know. Ask Elaine.”

 

Decades later, Sturtevant is recognised as a visionary artist and a paradigm shifter. This exhibition catalogue, edited in collaboration with Judson Rosebush, stands as one of the most remarkable acts of appropriation in art history. The logic behind its conception is deciphered by curator James Harithas in a disclaimer placed towards the end:

 

“Art adds its own process as content to the original. The source remains visible. Duchamp concludes that a work of art is completed by the viewer’s response. Art + response = creative dynamic. Sturtevant eliminates references. Response/source + process = source/resource. A:B::A:A+B”

 

The book unfolds as a suite of photocopies of reproductions of artworks by Warhol, Beuys, and Duchamp, manipulated with graphic elements. In 2014, artist Ciprian Mureșan created a large-scale meta-appropriation of Sturtevant’s publication in All Images from an Elaine Sturtevant Book, meticulously redrawing it as a unique work, now held in Tate’s collection.

MORE BOOKS