Sherrie Levine: Hong Kong Dominoes | David Zwirner
An installation view of a work by Sherrie Levine, titled Hong Kong Dominoes: 1–12, dated 2017.

Sherrie Levine

Hong Kong Dominoes

David Zwirner is pleased to present work by American artist Sherrie Levine (b. 1947) at the gallery’s Hong Kong location. The exhibition will showcase several bodies of work that are central to Levine’s practice, and that distinctly engage the artist’s ongoing inquiry into notions of authorship, originality, and authenticity. 

On view will be Hong Kong Dominoes (2017), a suite of twelve paintings on mahogany that replicate the surface of a group of dominoes that Levine purchased on a trip to Hong Kong in 2012, as well as twenty-two never-before-seen After Matisse drawings from 1985 from the artist’s own collection, alongside a selection of recent sculptures and photographs. 

Levine rose to prominence as a member of the Pictures Generation, a group of artists based in New York in the late 1970s and 1980s whose work examined the structures of signification underlying mass-circulated images, and, in many cases, directly appropriated these images in order to imbue them with new, critically inflected meaning. Since then, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon.

This will be the artist’s fourth solo exhibition with David Zwirner, and her first at the gallery’s Hong Kong location. 

 

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Image: Installation view, Sherrie Levine, Hong Kong Dominoes: 1–12, 2017

卓納香港欣然宣布即將舉辦美國藝術家謝麗·利文(Sherrie Levine,b. 1947)的個展。展覽將呈現利文的藝術實踐中幾組至關重要的創作,突顯藝術家對創作者身份、原創性和真實性等概念的持續探究。

本次展出的作品包括《香港多米諾》(2017),一套十二件的紅木繪畫,複製了利文2012年在香港旅遊時購買的多米諾骨牌;此外還有二十二件此前從未展出過的《仿馬蒂斯》畫作,由藝術家於1985年基於自己的收藏而展開創作;以及一系列近期的雕塑和攝影作品。

利文最初作為「圖像一代」(Pictures Generation)的代表人物嶄露頭角,這群藝術家活躍於1970年代末至1980年代的紐約,他們的作品審視了流行圖像中潛在的意義結構,且常直接挪用這類圖像,以引入嶄新的批判意義。此後,利文用多媒介形式創作出獨特而復雜的作品,毫不避諱地直接複製來自西方藝術史經典的作品及主題。

這將是利文在卓納畫廊的第四次個展,也是藝術家在畫廊香港空間的首展。

 

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謝麗·利文《香港多米諾》1-12 (2017)展覽現場

Sherrie Levine’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Her work often directly appropriates existing artworks and images in order to imbue them with new, critically inflected meaning. Levine rose to prominence as a member of the Pictures Generation, whose work examined the structures of signification underlying mass-circulated images. 

謝麗·利文的作品涉及了後現代藝術的許多核心理念,尤其挑戰了原創性、原真性及身份等概念。她的作品常常直接挪用現有的藝術作品和圖像,以此引入嶄新的、有批判反思性的意義。利文最初作為「圖像一代」(Pictures Generation)的代表人物而聲名鵲起,這群藝術家的作品檢視了大規模流通的圖像中所潛在的意義架構。

A painting by Sherrie Levine, titled Hong Kong Dominoes: 1-12, dated 2017.

Sherrie Levine

Hong Kong Dominoes: 1-12, 2017
Twelve (12) tempera on mahogany panels
Each: 20 x 16 inches (50.8 x 40.6 cm)
Overall dimensions variable

 

謝麗·利文(Sherrie Levine)

《香港多米諾:1-12》,2017年
十二件紅木板上蛋彩畫
單件尺寸:20 x 16英寸(50.8 x 40.6 厘米)
總體尺寸可變

The work Hong Kong Dominoes: 1–12 (2017) comprises twelve paintings on mahogany replicating the dominoes Levine purchased on a trip to Hong Kong in 2012. In the mid-1980s, the artist began painting “generic abstractions”—composed of stripes, checks, or chevrons—by applying paint on wood; these works are evocative of minimalist painting and sculpture from the 1960s and 1970s as well as the surfaces of game boards such as chess or backgammon. While the colors here are true to the dominoes, they also recall those commonly used in constructivist paintings, a frequent point of reference for the artist. 

作品《香港多米諾:1-12》(2017)包含了十二幅紅木的繪畫作品,畫面復刻了利文在2012年於香港旅行時購買的多米諾骨牌。1980年代中期,藝術家通過將顏料塗繪於木板上,開始了她的「通用抽象」(generic abstractions)的繪畫創作,畫面由條紋、網格或V型圖案構成,讓人想起1960和70年代的極簡主義繪畫和雕塑,以及聯想到國際象棋或西洋雙陸棋等棋盤的表面。儘管畫面的用色遵循了多米諾骨牌的牌面設計,它們還讓人想到「構成主義」繪畫的常用色彩,藝術家在作品中亦常引用這些作品。

“It’s more useful to think of art-making as play rather than work.”

「更有用的是將藝術創作理解為遊戲,而非工作。」

—Sherrie Levine, 1985
——謝麗·利文,1985年

A work by Sherrie Levine, titled Lead Checks and Chevron, dated 1988.

Sherrie Levine, Lead Checks and Chevron, 1988. Broad Art Museum. 謝麗·利文,《鉛質棋盤和V型圖》,1988年,布洛德博物館

Sherrie Levine, Lead Checks and Chevron, 1988. Broad Art Museum. 謝麗·利文,《鉛質棋盤和V型圖》,1988年,布洛德博物館

A work by Sherrie Levine, titled Lead Chevron: 1, dated 1987.

Sherrie Levine, Lead Chevron: 1, 1987. 謝麗·利文,《鉛質V型圖:1》,1987年

Sherrie Levine, Lead Chevron: 1, 1987. 謝麗·利文,《鉛質V型圖:1》,1987年

A work by Sherrie Levine, titled Small Lead Check, dated 1989.

Sherrie Levine, Small Lead Check, 1989. 謝麗·利文,《小尺幅鉛質棋盤畫》,1989年

Sherrie Levine, Small Lead Check, 1989. 謝麗·利文,《小尺幅鉛質棋盤畫》,1989年

“Levine’s Hong Kong Dominoes … embody two of the artist’s central interests: the freedom afforded by wearing a mask or disguise, and the freedom offered by engaging in play, an activity with no worldly purpose but amusement and pleasure.… As subject matter for Levine’s work, dominoes are ideal: … a multitude of variant forms, made of many different materials, and with varying numbers of component parts.”

「利文的《香港多米諾》……體現了藝術家兩個主要的興趣:通過面具或偽裝獲得的自由,以及從遊戲中獲取的自由——一項沒有世俗目的、只追求新奇和愉悅的活動……多米諾作為利文作品的主題是完全理想的:它們……是有着多種不同形式的一整類游戲,有着多樣的材質和數目不定的組件。」

—Larry List, “Sherrie Levine: Take a Picture to Make a Picture,” Sherrie Levine: Hong Kong Dominoes, 2021
——拉里·里斯特,《謝麗·利文:以圖像生產圖像》,收錄於展覽畫冊《謝麗·利文:香港多米諾》,2021年

A painting by Sherrie Levine, titled After Henri Matisse: 12, dated 1985.

Sherrie Levine

After Henri Matisse: 12, 1985
Graphite, watercolor, and wash on paper
Image: 14 x 11 inches (35.6 x 27.9 cm)
Framed: 15 7/8 x 12 7/8 inches (40.3 x 32.7 cm)

 

謝麗·利文(Sherrie Levine)

《仿亨利·馬蒂斯:12》,1985年

紙本石墨、水彩與薄塗技法

作品尺寸:14 x 11 英寸(35.6 x 27.9 厘米)

裝裱尺寸:15 7/8 x 12 7/8 英寸(40.3 x 32.7 x 3.8 厘米)

A painting by Sherrie Levine, titled After Matisse: 5, dated 1985.

Sherrie Levine

After Henri Matisse: 5, 1985
Graphite, watercolor, and wash on paper
Image: 14 x 11 inches (35.6 x 27.9 cm)
Framed: 15 7/8 x 12 7/8 inches (40.3 x 32.7 cm)

 

謝麗·利文(Sherrie Levine)

《仿亨利·馬蒂斯:5》,1985年

紙本石墨、水彩與薄塗技法

作品尺寸:14 x 11 英寸(35.6 x 27.9 厘米)

裝裱尺寸:15 7/8 x 12 7/8 英寸(40.3 x 32.7 x 3.8 厘米)

Part of a larger series of watercolors from the early 1980s made from reproductions of early twentieth-century masterpieces, including the work of Piet Mondrian, Joan Miró, Kazimir Malevich, and El Lissitzky, Levine’s After Henri Matisse works (1985) were made by photographing illustrations found in books and then re-painting them. The work questions the idea of originality and the commodification of art as well as male predecessors’ claims to authorship.

1980年代早期,利文在一個水彩系列中對二十世紀初的藝術傑作進行了復刻,包括皮特·蒙德里安(Piet Mondrian)、胡安·米羅(Joan Miró)、卡濟米爾·馬列維奇(Kazimir Malevich)和埃爾·利西茨基(El Lissitzky)等。在創作《仿亨利·馬蒂斯》系列(1985)時,藝術家先翻拍了畫冊中的作品插圖,再據此重新繪製原作。這些作品質疑了藝術的原創性及商品化的概念,也質疑了這些男性藝術家所宣稱的著作者身份。

A painting by Sherrie Levine, titled After Matisse: 14, dated 1985.

Sherrie Levine

After Henri Matisse: 14, 1985
Graphite, watercolor, and wash on paper
Image: 14 x 11 inches (35.6 x 27.9 cm )
Framed: 15 7/8 x 12 7/8 inches (40.3 x 32.7 cm)

 

謝麗·利文(Sherrie Levine)

《仿亨利·馬蒂斯:14》,1985年

紙本石墨、水彩與薄塗技法

作品尺寸:14 x 11 英寸(35.6 x 27.9 厘米)

裝裱尺寸:15 7/8 x 12 7/8 英寸(40.3 x 32.7 x 3.8 厘米)

A painting by Sherrie Levine, titled After Matisse: 15, dated 1985.

Sherrie Levine

After Henri Matisse: 15, 1985
Graphite, watercolor, and wash on paper
Image: 14 x 11 inches (35.6 x 27.9 cm)
Framed: 15 7/8 x 12 7/8 inches (40.3 x 32.7 cm)

 

謝麗·利文(Sherrie Levine)

《仿亨利·馬蒂斯:15》,1985年

紙本石墨、水彩與薄塗技法

作品尺寸:14 x 11 英寸(35.6 x 27.9 厘米)

裝裱尺寸:15 7/8 x 12 7/8 英寸(40.3 x 32.7 x 3.8 厘米)

 

“As a woman, I felt … [t]he whole art system was geared to celebrating these objects of male desire.… What I was doing was making this explicit: how this oedipal relationship artists have with artists of the past gets repressed; and how I, as a woman, was only allowed to represent male desire.”

「作為一位女性,我覺得……整個藝術系統都旨在慶賀這些男性慾望的對象……我所做的就是明確一點:藝術家與前輩藝術家之間這種俄狄浦斯式的關係是如何受到了壓抑,而我身為一位女性,又是如何只被允許去表達男性的慾望。」

—Sherrie Levine, 1986
——謝麗·利文,1986年

A work by Sherrie Levine, titled After Piet Mondrian: 1–16, dated 1983.

Sherrie Levine, After Piet Mondrian: 1–16, 1983. 謝麗·利文,《仿皮特·蒙德里安:1-16》,1983年

Sherrie Levine, After Piet Mondrian: 1–16, 1983. 謝麗·利文,《仿皮特·蒙德里安:1-16》,1983年

A work by Sherrie Levine, called Untitled (After Joan Miró), dated 1985.

Sherrie Levine, Untitled (After Joan Miró), 1985. 謝麗·利文,《無題(仿胡安·米羅)》,1985年

Sherrie Levine, Untitled (After Joan Miró), 1985. 謝麗·利文,《無題(仿胡安·米羅)》,1985年

“Another typically male subject that Levine has addressed is the female nude.… Just as the twentieth-century sculptor Constantin Brancusi sought to reduce a natural form to its essence in sculpture by idealizing it, in her Monochromes After Renoir Nudes works … Levine isolated the female figure in each Renoir work and then used a chromatic computer algorithm to calculate each figure’s average color, resulting in a unique and specific ‘essence’—a modernist monochrome panel.”

「利文使用的另一個典型的男性主題就是女性裸體……如同二十世紀雕塑家康斯坦丁·布朗庫西所做的那樣——布朗庫西將自然形態理想化,將其『濃縮』為其本質;而在《仿雷諾阿裸像的單色畫》中,……利文將雷諾阿作品中的女性形象分離出來,並通過一種計算機色彩算法來計算每個形象的平均色,得出其獨特的『本質』——一幅現代主義單色畫。」

—Larry List, “Sherrie Levine: Take a Picture to Make a Picture,” 2021
——拉里·里斯特,《謝麗·利文:以圖像生產圖像》,2021年

A painting by Sherrie Levine, titled Monochromes After Renoir Nudes: 13-16, dated 2016.

Sherrie Levine

Monochromes After Renoir Nudes: 13-16, 2016
Four (4) oil on mahogany panels
Image: 28 x 108 inches (71.1 x 274.3 cm)

 

謝麗·利文(Sherrie Levine)

《仿雷諾阿裸像的單色畫:13-16》,2016年

四件紅木板上油彩

作品尺寸:28 x 108 英寸(71.1 x 274.3 厘米)

 

“What I think about in terms of my work is broadening the definitions of the word ‘original.’”

「我作品思考的是拓寬『原創』的定義。」
—Sherrie Levine, 1985
——謝麗·利文,1985年

An installation view of a works by Sherrie Levine, titled Monochromes After Renoir Nudes: 13-16, dated 2016.

The artist has explored this approach in further series, for example Monochromes After Monet: 1–16 (2012) and Monochromes After Reinhardt: 1–28 (2018).

藝術家在其他系列中繼續深入探索了這種方法,如《仿莫奈的單色畫:1-16》(2012)與《仿萊茵哈特的單色畫:1-28》(2018)。

An Installation view of an exhibition titled, Sherrie Levine: After Reinhardt, at David Zwirner, New York, in 2019.

Installation view, Sherrie Levine: After Reinhardt, David Zwirner, New York, 2019. 展覽現場圖,《謝麗·利文:仿萊茵哈特》,卓納畫廊紐約空間,2019年

Installation view, Sherrie Levine: After Reinhardt, David Zwirner, New York, 2019. 展覽現場圖,《謝麗·利文:仿萊茵哈特》,卓納畫廊紐約空間,2019年

An installation view of an exhibition titled Sherrie Levine, at David Zwirner, New York, in 2016.

Installation view, Sherrie Levine, David Zwirner, New York, 2016. 展覽現場圖,《謝麗·利文》,卓納畫廊紐約空間,2016年

Installation view, Sherrie Levine, David Zwirner, New York, 2016. 展覽現場圖,《謝麗·利文》,卓納畫廊紐約空間,2016年

Hobby Horse (2014) belongs to an ongoing body of everyday objects cast in bronze—transforming them into works of art. “Hobby horse” is a literal translation of the French word “dada,” allowing Levine to wryly invoke the iconic art movement, itself an important precursor of her practice. The artist has also created bronze works referencing art history’s most recognizable iconography—such as Duchamp’s Fountain (1917)—as well as ritualistic objects from outside the Western canon.

作品《木馬》(2014)出自一個持續進行的以鑄銅翻模日常物件的系列——由此將它們轉化成藝術作品。 「木馬」是法語單詞「dada」的直譯,它讓利文能巧妙地將俗語與經典的藝術運動相提並論,而這本身就是她實踐中的重要特徵。藝術家還創作了指涉藝術史中最知名的圖像——比如杜尚的《噴泉》(1917)——以及西方經典之外儀式用品的鑄銅作品。

A sculpture by Sherrie Levine, titled Hobby Horse, dated 2014.

Sherrie Levine

Hobby Horse, 2014
Cast bronze
18 x 55 x 13 inches (45.7 x 139.7 x 33 cm)

 

謝麗·利文(Sherrie Levine)

《木馬》,2014年

鑄銅
18 x 55 x 13 英寸(45.7 x 139.7 x 33 厘米)

 

“Seemingly simple and straightforward, like a Trojan horse, this shiny bronze work draws the viewer in, yet it embodies Levine’s and the Dadaists’ passion for contradiction.… Like two parallel trains of thought, the two rocker elements of Hobby Horse are firmly fixed to the body of the work, but each moves in radically different curvatures and would throw off any potential rider—just as readily as anyone expecting a ‘smooth ride’ and one consistent interpretation of Levine’s work will surely be thrown off.”

「這件閃亮的鑄銅作品看上去簡單而直接,如同特洛伊木馬,吸引著觀眾的目光,但它其實體現了利文和達達主義者對矛盾以及批駁簡單闡釋的熱情……《木馬》的兩個腳蹬猶如兩條思路,它們牢牢固定在作品主體上,有著極為不同的運動曲線,任何試圖騎這匹馬的人都不免摔跤——就好像任何期待『流暢體驗』或試圖嚴絲合縫地闡釋利文作品的人,也注定會遭遇挫敗一樣。」

—Larry List, “Sherrie Levine: Take a Picture to Make a Picture,” 2021
——拉里·里斯特,《謝麗·利文:以圖像生產圖像》,2021年

An installation view of an exhibition titled Sherrie Levine, at David Zwirner, New York, in 2016.
Installation view, Sherrie Levine, David Zwirner, New York, 2016. 展覽現場圖,《謝麗·利文》,卓納畫廊紐約空間,2016年
Installation view, Sherrie Levine, David Zwirner, New York, 2016. 展覽現場圖,《謝麗·利文》,卓納畫廊紐約空間,2016年
A bronze work by Sherrie Levine, titled Rabbit, dated 2018.

Sherrie Levine, Rabbit, 2018. 謝麗·利文,《兔子》,2018年

Sherrie Levine, Rabbit, 2018. 謝麗·利文,《兔子》,2018年

After Feininger: 1–11 (2021) uses the work of Bauhaus-trained photographer Andreas Feininger (1906–1999) and relates to Levine’s ongoing practice of photographing reproductions of images, begun in the early 1980s. Though best known as a LIFE magazine photographer, Feininger traveled across the United States in 1942 documenting wartime industries for the American Office of War Information. These vividly colored images depict mining and construction efforts set against vast American landscapes.

《仿費寧格:1-11》(2021)系列挪用了曾在包豪斯求學的攝影師安德烈亞斯·費寧格(Andreas Feininger,1906-1999)的作品。利文將其與自己在1980年代初起創作的攝影翻拍作品相結合。費寧格以《生活》雜誌攝影師的身份被大眾所熟知。他曾經於二戰前後受羅斯福新政下開設的美國戰時情報局所僱傭,在 1942 年間前往美國各地環遊,記錄戰時工業。在展覽中,一系列生動鮮活的彩色圖像描繪了當時開闊樸素風景中鑽井採礦及建築工地的場景。

A photograph by Sherrie Levine, titled After Feininger: 1-11, dated 2021.

Sherrie Levine

After Feininger: 1-11, 2021
Eleven (11) giclée inkjet prints
Print, each: 20 x 16 inches (50.8 x 40.6 cm)
Framed, each: 21 5/8 x 17 5/8 inches (54.9 x 44.8 cm 1/5)
A photograph by Sherrie Levine, titled After Feininger: 1-11, dated 2021.

Sherrie Levine

After Feininger: 1-11, 2021
Eleven (11) giclée inkjet prints
Print, each: 20 x 16 inches (50.8 x 40.6 cm)
Framed, each: 21 5/8 x 17 5/8 inches (54.9 x 44.8 cm 1/5)
A photograph by Sherrie Levine, titled After Feininger: 1-11, dated 2021.

Sherrie Levine

After Feininger: 1-11, 2021
Eleven (11) giclée inkjet prints
Print, each: 20 x 16 inches (50.8 x 40.6 cm)
Framed, each: 21 5/8 x 17 5/8 inches (54.9 x 44.8 cm 1/5)

 

謝麗·利文(Sherrie Levine)

《仿費寧格:1-11》,2021年

十一件藝術微噴

單件尺寸:20 x 16 英寸(50.8 x 40.6 厘米)

單件裝裱尺寸:21 5/8 x 17 5/8 英寸(54.9 x 44.8 x 3.2 厘米)


A photograph by Sherrie Levine, titled After Feininger: 1-11, dated 2021.

Sherrie Levine

After Feininger: 1-11, 2021
Eleven (11) giclée inkjet prints
Print, each: 20 x 16 inches (50.8 x 40.6 cm)
Framed, each: 21 5/8 x 17 5/8 inches (54.9 x 44.8 cm 1/5)
A photograph by Sherrie Levine, titled After Feininger: 1-11, dated 2021.

Sherrie Levine

After Feininger: 1-11, 2021
Eleven (11) giclée inkjet prints
Print, each: 20 x 16 inches (50.8 x 40.6 cm)
Framed, each: 21 5/8 x 17 5/8 inches (54.9 x 44.8 cm 1/5)

After Feininger: 1–11 shares much in common with some of Levine’s best-known work, namely After Walker Evans: 1–22 (1981) and After Russell Lee: 1–60 (2016), both of which make similar use of the work of earlier photographers to create new series.

《仿費寧格:1-11》與利文最著名的作品有着異曲同工,像是《仿沃克·埃文斯:1-22》(1981)和《仿羅素·李:1-60》(2016),這兩個系列都類似地挪用了早期攝影師的作品進行新創作。

An installation view of Sherrie Levines series titled After Russell Lee: 1–60, dated 2016, at the Broad art museum.
Installation view, A Journey That Wasn’t, The Broad, Los Angeles, 2018. Photo by Coley Brown. 展覽現場圖,《一段並未經歷的旅程》,布洛德博物館,洛杉磯,2018年。攝影/ Coley Brown
Installation view, A Journey That Wasn’t, The Broad, Los Angeles, 2018. Photo by Coley Brown. 展覽現場圖,《一段並未經歷的旅程》,布洛德博物館,洛杉磯,2018年。攝影/ Coley Brown
An installation view of an exhibition titled Sherrie Levine, at David Zwirner, New York, in 2016.
Installation view, Sherrie Levine, David Zwirner, New York, 2016. 展覽現場圖,《謝麗·利文》,卓納畫廊紐約空間,2016年
Installation view, Sherrie Levine, David Zwirner, New York, 2016. 展覽現場圖,《謝麗·利文》,卓納畫廊紐約空間,2016年

“On one level, Levine’s simple Duchampian gesture of appropriation presented an ardent attempt to disrupt the liturgical flow of the modernist story of art history, with its focus on the heroic achievements of male artists, by raising questions of authorship, originality, and attribution. On another level, her act of appropriation was not so much a negation as a strange kind of homage to her subjects.… It is the doubling effect produced in these works, their creation of doppelgängers of well-known images, that has given them the power to disturb our sense of order while also opening them up for another kind of interpretive cathexis.”

「從某個層面來說,利文簡潔的杜尚式的挪用是一種熱忱激烈的嘗試:通過質疑著作者、原創性和歸屬權等問題,她意欲擾亂藝術史中那些現代主義敘事的繁縟禮節,而這樣的藝術史在過去一直重點聚焦於男性藝術家們英雄主義的成就。從另一個層面來說,她的挪用與其說是一種否定,不如說是她對其創作主題所致以的敬意……正是這些作品所產生的雙重效果,以及它們為廣為人知的圖像創造的『分身』,使得它們具有了擾亂我們秩序感的力量,同時也為另一重解讀性的精神宣洩敞開了大門。」

—Douglas Fogle, “The Last Picture Show,” in The Last Picture Show: Artists Using Photography 1960–1982, 2003
——道格拉斯·福格爾,《最後的圖片展》,收錄於《最後的圖片展:擅用攝影的藝術家們,1960-1982》,2003年

“I always make things that I want to look at. Objects that help me understand something or experience something that I didn’t before.… How would I feel if there were six or twelve of them in a room together? What would that mean to me? What I’m interested in is the almost-same.”

「我一直創作那些我自己想要觀看的作品。那些物件幫助著我去理解或體驗某些我此前並不熟悉的事物……如果有六件或十二件相同的物品放在一個展廳裡,我會有什麼感受?那對我來說意味着什麼?我感興趣的是那種幾乎一樣的質感。」

—Sherrie Levine, 1994
——謝麗·利文,1994年

The cover of a book titled Sherrie Levine: Hong Kong Dominoes, published in 2021.
 
 

The latest in the Spotlight Series from David Zwirner Books, Sherrie Levine: Hong Kong Dominoes features a new essay by Larry List, which tracks the history of Levine’s inspirations and artistic practice, and an interview with Levine by Jeanne Siegel, originally published in the June/Summer 1985 issue of Arts Magazine, which explores the artist’s use of appropriated imagery.

 

《謝麗·利文:香港多米諾》是卓納圖書「聚焦系列」最新推出的出版物,其中收錄了拉里·里斯特的全新文章,他回溯了利文創作靈感及藝術實踐的歷史,此外還收錄了利文與珍妮·西格爾的訪談,這篇採訪最早發表於《藝術雜誌》1985年夏季/六月刊,探索了藝術家對挪用圖像的運用。

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