Zack Hatfield on Sturtevant

Enjoying newfound status as the “mother of appropriation” after years of self-imposed exile, Sturtevant reprised his blossoms, this time eschewing their garish apple greens and hot pinks for more nocturnal hues, much as she traded the Byzantine gold of his Marilyns for a palette of ash. Duchamp’s sp...

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Bibliographic Details
Published inArtforum international Vol. 61; no. 3
Main Author Hatfield, Zack
Format Magazine Article
LanguageEnglish
Published New York Artforum Inc 01.11.2022
Subjects
Art exhibits
Graffiti
Internet
Modern art
Photography
Sculpture
Video art
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Summary:Enjoying newfound status as the “mother of appropriation” after years of self-imposed exile, Sturtevant reprised his blossoms, this time eschewing their garish apple greens and hot pinks for more nocturnal hues, much as she traded the Byzantine gold of his Marilyns for a palette of ash. Duchamp’s spirit carried into the main room, which contained renditions of Jasper Johns’s 1957 Gray Numbers painting, a Keith Haring Mickey Mouse tag, a Robert Gober sculpture, and Sturtevant’s 2010 video collaging stock footage from internet libraries and titled, simply, Simulacra. Surely, the meltingly elegant brushwork of Johns’s Gray Numbers is absent from Sturtevant’s Johns Gray Numbers, 1991, whose encaustic scarcely covers the newsprint base; Haring Tag July 15 1981, 1985, lacks, among other qualities, the illegal frisson of early Haring graffiti.
Bibliography:content type line 24
ObjectType-Review-1
SourceType-Magazines-1
ISSN:1086-7058