Los Angeles

Sherrie Levine

Richard Kuhlenschmidt Gallery

While a great deal has been written about Sherrie Levine, her exhibitions are not often reviewed. Instead her work is made an example. It is embedded in articles on “allegorical procedure, appropriation, and montage” (Benjamin Buchloh’s subject in an article in Artforum, September 1982). Or, and unfortunately more often, it is used as evidence in articles decrying the “small-scale skepticism” of recent art. Here Levine is presented as a symbol of her generation, resentful of the immediate past and downtrodden by art history, accused by turn of careerist cynicism and self-victimizing melancholy. And in most cases Levine’s work is written of as an idea—that of the presentation of someone else’s pictures as her own. In this view, if her work is finally made, it is only to make good its threat.

Perhaps the reason Levine’s work is not reviewed is because it seems to have no body. She provides

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