Galerie Thaddaeus Ropac | Marais

Though Elaine Sturtevant’s work prefigured ’80s-style appropriation (Mike Bidlo, Sherrie Levine, Philip Taaffe et al.), her role has never been fully recognized. Indeed, she remains one of those unclassifiable contemporary figures who seems perpetually out of sync with their moment.

Picking up and developing an element that was present in her first New York show, Sturtevant devoted her entire recent exhibition to Andy Warhol’s “Flower” paintings. Twenty-five years after her first show in Paris, Sturtevant remains remarkably faithful to her original position. Though her intentions have remained constant since 1965, the reception of her work has shifted from one of more or less hostile incomprehension, to one of acceptance, and finally to one of fatigue resulting from the glut of appropriation during the ’80s.

Sturtevant has always refrained from making copies; her repetitions—most often done

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