KERRI SCHARLIN’S WORK IS about her image and the image-making process. Last spring she mounted a three-part exhibition in New York: one part consisted of studies of her made in a life-drawing class for which she posed nude, another of portraits made by police sketch-artists working from verbal descriptions of her by artists who know her, and the last of scenes from her life drawn by media courtroom artists.

Scharlin’s latest project involves asking writers to write about her and photographers to photograph her. I was happy to accept, for several reasons: one being that hype and image control are integral parts of an artist’s job today, whether acknowledged or not. This is generally considered a modern phenomenon, but I suspect that the art of art publicity predates Andy Warhol, predates Jackson Pollock in Life, predates Salvador Dalí, predates Whistler, predates the Renaissance even. There

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