ELAINE STURTEVANT

Lichtenstein Final Study for Landscape with Figures, 1988

Colour pencil and graphite pencil on paper, wood frame

41,7 x 60,8 cm (16,42 x 23,94 in) sheet

67x83 cm in frame

Signed and it will by accompanied by an Sturtevant estate’s certificate.

PROVENANCE:

Bess Cutler Gallery (which was dealing with Sturtevant in the past)

Christie's New York Sales date 16 Nov 2006 Lot number 439

Estate Sturtevant, Paris (Helen Sturtevant herself bought the work at Christie's auction in 2006 - which indicates the importance of this work for her)

Thaddaeus Ropac Gallery, Paris, 2016 from exhibition Elaine Sturtevant Dessins 1964-1994

Private collection

Literature:

Sturtevant: Drawing, Double, Reversal on page 121 and the page 185, published in November 2014

Exhibited:

MMK Museum für Moderne Kunst Frankfurt am Main. STURTEVANT. DRAWING DOUBLE REVERSAL. 1 November 2014 — 1 February 2015

Albertina in Vienna. « Sturtevant: Drawing, Double, Reversal » 14 February 2015 - 10 May 2015

National galerie Hamburger Bahnhof - Museum für Gegenwart - Berlin. STURTEVANT. DRAWING DOUBLE REVERSAL 30.05.2015 to 23.08.2015

Thaddaeus Ropac Gallery, Paris. Elaine Sturtevant Dessins 1964-1994. 16 April - 22 May 2016

ELAINE STURTEVANT - Lichtenstein Final Study for Landscape with Figures, 1988

฿3.25Price
  • ELAINE STURTEVANT

    Elaine Frances Sturtevant (née Horan; August 23, 1924 – May 7, 2014)

    The American artist Sturtevant is best known for her repetitions of the works of other artists, which she recreated manually from memory after having seen a piece that intrigued her. These can immediately be identified with the original, but they are not copies. The artists with whose work she engaged include her contemporaries in American Pop – Jasper Johns, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, Andy Warhol and Tom Wesselmann – as well as Marcel Duchamp, Joseph Beuys, Frank Stella, Felix Gonzalez-Torres, Keith Haring and Anselm Kiefer, among others. Her aim was not to achieve an exact replica, but rather to address notions of authorship, authenticity and originality that would later come to the fore in our own digital age, characterised by the endless circulation and recombination of images.

     

    Sturtevant's first exhibition, held in 1965 at the Bianchini Gallery, New York, featured her versions of Andy Warhol's silkscreened flowers, a Jasper Johns flag, a Frank Stella concentric square, a Claes Oldenburg garment and other paintings suspended on a clothes rack. The relationship between repetition and difference, as articulated in Gilles Deleuze's seminal philosophical text, was central to her practice. Before it became available in English translation, Sturtevant read Différence et répétition (1968) in the original French with the aid of a dictionary. The disparities between versions encourage the viewer to look beyond their surface similarities and 'trigger thinking' about the underlying conceptual structure of art. She achieved these crucial differences by working 'predominantly from memory, using the same techniques, making the same errors and thus coming out in the same place'. When Warhol was asked how he made his work he famously replied: 'I don't know. Ask Elaine [Sturtevant]'.