New York

Elaine Sturtevant

Onnasch Gallery

I write reviews as a meta-art of chosen subjects, so while sympathetic to Burden’s use of media, I’m also aware of limitations with Elaine Sturtevant’s remaking the work of Joseph Beuys. The art world has had for some years a pitting of meta as against speculative concerns: the clash whether in object or Conceptual art between questioners of and speculators with the norms of art, but the debate is growing a little tired. The world is too big and interesting a place to think only of varieties of art incest. Sturtevant’s fat and felt replicas of Beuys—in an object rather than language meta-art camp—are not without interest, but I’m not sure I don’t prefer a handshake with the past rather than kissing its ass.

Commenting directly on the look of prior art whether it be Oldenburg, Duchamp, Warhol, or Beuys here, Sturtevant is always tied by an a priori acceptance of what things look like as

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