PRINT April 2003

’80s THEN

Sherrie Levine

HOWARD SINGERMAN: There is a caricature of the ’80s: All you needed was a critic with a name to write about your work and cite some hot theorist, and you had a career. This strikes me as both historically and systemically wrong; it’s my recollection that the theory and criticism arrived earlier and in different spheres than the ’80s market did. Do you have any thoughts about a different sort of chronology of the decade?

SHERRIE LEVINE: I came to New York in the mid-’70s, at the same time as a lot of recent art school graduates from CalArts, RISD, Buffalo, and Nova Scotia College of Art and Design and a good number of other like-minded artists and writers. We didn’t make a big distinction between artmaking, writing, and curating. Many people were engaged in more than one of these activities, none of them very financially lucrative at this point. There were no commercial venues for the things

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