The Counter Feats of Elaine Sturtevant (1924-2014)
This article explores the work of Elaine Sturtevant whose œuvre is entirely composed of images borrowed or copied from other artists. From her first Warhol Flowers in 1965 to her late text performances, Sturtevant belligerently used iconic images by other artists trying not to make them different, b...
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| Format: | Article |
| Language: | English |
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Laboratoire d’Etudes et de Recherches sur le Monde Anglophone (LERMA)
2015-12-01
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| Series: | E-REA |
| Subjects: | |
| Online Access: | http://journals.openedition.org/erea/4567 |
| _version_ | 1818343448114102272 |
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| author | Richard PHELAN |
| author_facet | Richard PHELAN |
| author_sort | Richard PHELAN |
| collection | DOAJ |
| description | This article explores the work of Elaine Sturtevant whose œuvre is entirely composed of images borrowed or copied from other artists. From her first Warhol Flowers in 1965 to her late text performances, Sturtevant belligerently used iconic images by other artists trying not to make them different, but the same. In advance of the Appropriationists, whose critical fortune gave a new perspective on her pursuits, Sturtevant questioned originality and authorship; her actions shifted the material objects she crafted towards image as idea, image as discourse. From Duchamp to Stella to Gonzalez-Torres, Sturtevant’s choice of targets will be examined. Offering a radical case for intericonographic studies, Sturtevant displaces their focus towards the agency of the image and forces us to reconsider the practice of the copy, whose exacerbated status in our culture she anticipated. |
| first_indexed | 2024-12-13T16:30:44Z |
| format | Article |
| id | doaj.art-0a55efcef6f34eefaf7b845fd072ce16 |
| institution | Directory Open Access Journal |
| issn | 1638-1718 |
| language | English |
| last_indexed | 2024-12-13T16:30:44Z |
| publishDate | 2015-12-01 |
| publisher | Laboratoire d’Etudes et de Recherches sur le Monde Anglophone (LERMA) |
| record_format | Article |
| series | E-REA |
| spelling | doaj.art-0a55efcef6f34eefaf7b845fd072ce162022-12-21T23:38:31ZengLaboratoire d’Etudes et de Recherches sur le Monde Anglophone (LERMA)E-REA1638-17182015-12-011310.4000/erea.4567The Counter Feats of Elaine Sturtevant (1924-2014)Richard PHELANThis article explores the work of Elaine Sturtevant whose œuvre is entirely composed of images borrowed or copied from other artists. From her first Warhol Flowers in 1965 to her late text performances, Sturtevant belligerently used iconic images by other artists trying not to make them different, but the same. In advance of the Appropriationists, whose critical fortune gave a new perspective on her pursuits, Sturtevant questioned originality and authorship; her actions shifted the material objects she crafted towards image as idea, image as discourse. From Duchamp to Stella to Gonzalez-Torres, Sturtevant’s choice of targets will be examined. Offering a radical case for intericonographic studies, Sturtevant displaces their focus towards the agency of the image and forces us to reconsider the practice of the copy, whose exacerbated status in our culture she anticipated.http://journals.openedition.org/erea/4567appropriationcopytimeDuchampStellaSturtevant |
| spellingShingle | Richard PHELAN The Counter Feats of Elaine Sturtevant (1924-2014) E-REA appropriation copy time Duchamp Stella Sturtevant |
| title | The Counter Feats of Elaine Sturtevant (1924-2014) |
| title_full | The Counter Feats of Elaine Sturtevant (1924-2014) |
| title_fullStr | The Counter Feats of Elaine Sturtevant (1924-2014) |
| title_full_unstemmed | The Counter Feats of Elaine Sturtevant (1924-2014) |
| title_short | The Counter Feats of Elaine Sturtevant (1924-2014) |
| title_sort | counter feats of elaine sturtevant 1924 2014 |
| topic | appropriation copy time Duchamp Stella Sturtevant |
| url | http://journals.openedition.org/erea/4567 |
| work_keys_str_mv | AT richardphelan thecounterfeatsofelainesturtevant19242014 AT richardphelan counterfeatsofelainesturtevant19242014 |