Selected Biography

Born 1947, Hazelton, Pennsylvania Lives and works in New York

EDUCATION

1965-73
University of Wisconsin, Madison (B.F.A. 1969; M.F.A. 1973)

FORTHCOMING EXHIBITIONS

2009
Simon Lee Gallery, London, England
The Pictures Generation, 1974 – 1984, Metropolitan Museum of Art, New York, NY

SELECTED SOLO EXHIBITIONS

2008
Paula Cooper Gallery, New York, NY

2007
Living Artists of Distinction: Sherrie Levine, Abstraction, Georgia O’Keefe Museum, Santa Fe, NM
Paula Cooper Gallery, New York, NY
James Kelly Contemporary, Santa Fe, NM
Jablonka Galerie, Berlin, Germany
Simon Lee Gallery, London, England

2006
Men, Women and Dogs, Paula Cooper Gallery, New York, NY
Jablonka Galerie, Cologne, Germany
Sherrie Levine: Abstraction, The Arts Club of Chicago, Chicago, IL

2004
Loulou, Faggionato Fine Arts, London, England
Mourning Mirrors, Paula Cooper Gallery, New York, NY

2003
Selected Early Paintings, Skarstedt Fine Art, New York, NY
Paula Cooper Gallery, New York, NY
Jablonka Galerie, Cologne, Germany

2002
Skulls, Jablonka Galerie, Cologne, Germany
Devin Borden Hiram Butler Gallery, Houston, TX

2001
Paula Cooper Gallery, New York, NY
Scultpture Prototypes, Sherrie Levine/Joost van Oss, The Getty Research Institute, Los Angeles, CA
Ceci n’est pas une pipe, Margo Leavin Gallery, Los Angeles, CA

2000
Jablonka Galerie, Cologne, Germany
Paula Cooper Gallery, New York, NY
Gian Enzo Sperone, Turin, Italy

1999
Margo Leavin Gallery, Los Angeles, CA
Jablonka Galerie, with Joost van Oss, Cologne, Germany
MAMCO, with Joost van Oss, Geneva, Switzerland
Hamburger Kunstverein, Hamburg, Germany
Paula Cooper Gallery, with Joost van Oss, New York, NY

1998
Museum Morsbroich, Leverkusen, Germany
Art & Public, Geneva, Switzerland

1997
Casino, Luxembourg
MAMCO, Geneva, Switzerland

1996
Galerie Deux, Tokyo, Japan
Jablonka Galerie, Cologne, Germany
Frac des Pays de la Loire, Nantes, France
South London Gallery, London, England
Margo Leavin Gallery, Los Angeles, CA

1995
The Menil Collection, Houston, TX
Museum of Contemporary Art, Los Angeles, CA
Margo Leavin Gallery, Los Angeles, CA
Hiram Butler Gallery, Houston, TX
Newborn, galerie deux Co., Ltd., Tokyo, Japan

1994
Portikus, Frankfurt, Germany
Marian Goodman Gallery, New York, NY

1993
Jablonka Galerie, Cologne, Germany
Philadelphia Museum of Art, Philadelphia, PA

1992 Westfälisches Landesmuseum, Münster, Germany Rooseum, Malmö, Sweden
Hôtel des arts, Paris, France

1991
San Francisco Museum of Modern Art, San Francisco, CA
Donald Young Gallery, Chicago, IL
Mary Boone Gallery, New York, NY
Galerie Ghislaine Hussenot, Paris, France
Kunsthalle Zürich, Zürich, Switzerland

1990
Daniel Weinberg Gallery, Santa Monica, CA

1989
Donald Young Gallery, Chicago, IL Mary Boone Gallery, New York, NY

1988
Hirshhorn Museum, Washington, D.C.
High Museum of Art, Atlanta, GA
Galerie Nächt St. Stephan, Vienna, Austria
Mario Diacono Gallery, Boston, MA

1987
Donald Young Gallery, Chicago, IL
Wadsworth Atheneum, Hartford, CT
Mary Boone Gallery, New York, NY

1986
Daniel Weinberg Gallery, Los Angeles, CA

1985
Baskerville + Watson Gallery, New York, NY
Block Gallery, Northwestern University, Evanston, IL
Richard Kuhlenschmidt Gallery, Los Angeles, CA

1984
Nature Morte Gallery, New York, NY
A and M Artworks, New York, NY
Yajima Gallery, Montreal, Quebec, Canada
Ace, Montreal, Quebec, Canada

1983
Baskerville + Watson Gallery, New York, NY
Richard Kuhlenschmidt Gallery, Los Angeles, CA

1982
A and M Artworks, New York, NY

1981
Metro Pictures, New York, New York

1979
The Kitchen, New York, NY

1978
Hallwalls, Buffalo, New York, NY

1977
3 Mercer Street, New York, NY

1974
De Saisset Art Museum, Santa Clara, CA

SELECTED GROUP EXHIBITIONS

2008
Photography on Photography: Reflections on the Medium since 1960, Metropolitan Museum of Art, New York
Prefab, Gagosian Gallery, New York
Wood, Paula Cooper Gallery, New York, NY
Color Chart: Reinventing Color, 1950 to Today, Museum of Modern Art, New York
Whitney Biennal 2008, Whitney Museum of American Art, New York
Art of this Century, Gavin Brown’s Enterprise, New York
Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography, New York, NY

2007
Take 2: Women Revisiting Art History, curated by Janet Bishop, Mills College of Art Museum, Oakland, CA
Kunsthaus Aarau, Aarau, Switzerland
Living in the Material World – ‘Things’ In Art of the Twentieth Century and Beyond, The National Art Center, Tokyo, Japan
Real Life Magazine, curated by Kate Fowle, Artists Space, New York, NY
What does the jellyfish want? Fotografien von Man Ray bis James Coleman, Ludwig Museum, Cologne, Germany
Still Life & Kicking, a collaboration with Vogue, curated by Dodie Kazanjian, Paula Cooper Gallery, New York, NY

2006
The Downtown Show, The New York Art Scene 1974-1984, curated by Carlo McCormick, The Grey Art Gallery, New York, NY
Singular Multiples: The Peter Blum Edition Archive 1980-1994, Museum of Fine Arts, Houston, TX
An Ongoing Low-Grade Mystery, organized by Bob Nickas, Paula Cooper Gallery, New York, NY
Seeing Double, The Art Galleries, Ramapo College of New Jersey, Mahwah, NJ
Figures in the Field: Figurative Sculpture and Abstract Painting from Chicago
Collections, Museum of Contemporary Art, Chicago, IL
Glass: Material Matters, Los Angeles County Museum of Art, Los Angeles, LA
Freud and Contemporary Art: The Collection of The Sigmund Freud Museum Vienna, Austrian Cultural Forum, New York, NY
Magritte and Contemporary Art: The Treachery of Images, Los Angeles County Museum of Art, Los Angeles, CA
The Gold Standard, organized Bob Nickas and Walead Beshty, P.S. 1 Contemporary Arts, Queens, NY
On Second Thought, Perry Rubenstein Gallery, New York, NY

2005
The Downton Show: The New York Art Scene, 1974-1984, curated by Carlo McCormick, The Grey Art Gallery, New York University, New York, NY
Suspended Narratives, Lora Reynolds Gallery, Austin,TX
Logical Conclusions: 40 Years of Rule-based Art, Pace Wildenstein, New York, NY
Seeing Double, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY
Quarter: Barney, Gober, Levine, Walker, Walker Art Center, Minneapolis, MN

2004 Off the Wall: Selections from the JPMorgan Chase Art Collection, Bruce Museum, Greenwich, CT
About Painting, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Spring, New York, NY
The Fifth International Biennial Exhibition, Disparities and Deformations: Our Grotesque, curated by Robert Storr, SITE Santa Fe, NM
La Lettre Volée, F.R.A.C. Franche-Comté Musée des Beaux-Arts de Dole, France
Last one on is a soft Jimmy, Paula Cooper Gallery, New York, NY

2003 After Shock, Dickison Roundell Inc., New York, NY
Influence, Anxiety and Gratitude (Toward an Understanding of Transgenerational Dialogue as a Gift Economy), M.I.T. List Visual Arts Center, Cambridge, MA
Living with Duchamp, The Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, NY
Stranger in the Village, Guild Hall, East Hampton, New York, NY
The Last Picture Show: Artists Using Photography 1960-1982, Walker Art Center, Minneapolis, MN

2002
But is it real?, Williams College Museum of Art, Williamstown, MA.
From the Observatory , Paula Cooper Gallery, New York, NY
New Acquisitions, Walker Art Center, Minneapolis, MN
Painting on the Move, Museum of Contemporary Art, Basel, Switzerland
Regarding Landscape II, Centre des Arts Saidye Bronfman, Montreal, Canada
System Order Nature, Devin Borden Hiram Butler Gallery, Houston, TX

2001
As Painting: Division and Displacement, The Wexner Center for the Arts, The Ohio State University, Columbus, OH
Postmodern Americans: a selection, The Menil Collection, Houston, TX
Picturing Media: Modern Photographs from the Permanent Collection, Metropolitan Museum of Art, New York, NY
Recent Acquisitions, Kunstsammlung NRW, Dusseldorf Museum of Our Whishes, Ludwig Museum, Koln
Mythic Proportions: Painting in the 1980s, Museum of Contemporary Art, Miami, FL

About Face, The Museum of Modern Art, New York, NY
Parkett Collaborations, Museum of Modern Art, New York, NY
Selections from the Permanent Collection and Recent Acquisitions, Miami Art Museum, Miami, FL
Pictures at an Exhibition, Artists Space, New York, NY
Sculpture Prototypes, The Getty Research Institute, Los Angeles, CA
Beautiful Productions, art to play, art to wear, art to own, Whitechapel Art Gallery, London
Bogus: Counterfeit Images and Contemporary Art, Castle Gallery, The College of New Rochelle, New Rochelle, NY

2000
Séquences, Galerie Roger Pailhas, Marseille, France
Examining Pictures: Exhibiting Paintings, UCLA Armand Hammer Museum, Los Angeles, CA
The American Century, Art & Culture 1900 – 2000, Whitney Museum of American Art, New York, NY
Open Ends, Museum of Modern Art, New York, NY
One Thing after Another, Museum of Modern Art, New York, NY
Actual Size, Museum of Modern Art, New York, NY
Aspectos de la Colección, Fundation “La Caixa” Madrid
Around 1984, P.S.1 Contemporary Art Center, Long Island City, NY
Century of Innocence - The History of the White Monochrome, Rooseum-Center for Contemporary Art, Malmo, Sweden
Liljevalchs Konsthall, Stockholm, Sweden
Library, Margo Leavin Gallery, Los Angeles, CA

1999
The American Century, Part Two, The Whitney Museum of American Art, New York, NY
Art at Work, Forty Years of The Chase Manhattan Collection, Contemporary Arts Museum, Houston, TX
Wallworks, Paula Cooper Gallery, New York; Museum Villa Stuck, Munich
Sightgags: Humor, Satire and Grotesque in Modern Art and Contemporary Drawing, Museum of Modern Art, New York, NY
Museum as Muse, Museum of Modern Art, New York, NY
Veronica’s Revenge, Photographies de la collection LAC-Suisse, Casino Luxembourg et Musée National d’Histoire et d’Art, Luxembourg Die Erste Sammlung zu Gast, Kunsthaus Murzzuschlag, Austria Hamburg, Germany Switzerland Careless Exhibition of Twentieth Century Product Design / Poetic Installation of Works by Constantin Brancusi, Ann Hamilton, Bertrand Lavier, Sherrie Levine and Haim Steinbach, Los Angeles Contemporary Exhibitions, Los Angeles, CA Marcel Duchamp: The Art of Making Art After Marcel Duchamp in the Age of Mechanical Reproduction, Achim Moeller Fine Art, New York, NY Apro Pos of Marcel the Art of Making Art After Marcel Duchamp in the Age of Mechanical Reproduction, Curt Marcus Gallery, New York, NY Originale echt falsch: Nachahmung, Kopie, Zitat, Aneignung, Fälschung in der Gegenwartskunst, Neues Museum Weserburg, Bremen, Germany. Not There,” Rena Bransten Gallery, New York, NY Examining Pictures, Whitechapel Art Gallery, London, England. Travelled to Museum of Contemporary Art, Chicago, IL

1998
100 Years of Sculpture, From the Pedestal to the Pixel, Walker Art Center, Minneapolis, MN
Collection, un autre regard, capc Musée d’art contemporain, Bordeaux, France
The Art of the 80’s, Culturgest, Lisbon, Portugal
Centenial Exhibition, Vienna Secession, Vienna; Rudolfinum, Prague, Czech Republic
Take Two, Hamburger Kunstverein, Hamburg, Germany
XXIV Bienal de Sao Paulo, Sao Paulo, Brazil
Sammlung Goetz, Emotion, Deichtorhallen, Hamburg, Germany
Parkett-Kunstlereditionen, Museum Ludwig, Cologne, Germany
Sculpture, Paula Cooper Gallery, New York, NY
Recycling Art History, Pittsburgh Center for the Arts, Pittsburgh, PA

1997
Mutiple Identity: Amerikanische Kunst 1975-1995 Aus Dem Whitney Museum of Art,National
Gallery and Alexandros Soutzos Museum, Athens, Greece; Museo d’Art Contemporani, Barcelona, Spain; Kunstmuseum, Bonn, Germany
Views from Abroad, American Realities, Tate Gallery, London; Whitney Museum, New York, NY
Homage to George Herriman, Campbell-Thiebaud Gallery, San Francisco, CA
Gerrit Rietveld and Sherrie Levine, Galerie Ulrich Fiedler, Cologne, Germany; Foundation for the Arts,Sigmund Freud Museum, Vienna, Austria
Modernist French Design and Sherrie Levine, Margo Leavin Gallery, Los Angeles, CA
Maxwell’s Demon, Margo Leavin Gallery, Los Angeles, CA

1996
Rational and Irrational, Whitney Museum, New York, NY
Abstraction, Pure and Impure, Museum of Modern Art, New York, NY
Private Passions, City Museum of Modern Art, Paris, France
Everything New, Deste Foundation, Athens, Greece
The Mediated Object: Selections from the Eli Broad Collections, Fogg Art Museum, Cambridge
New Art on Paper 2, Philadelphia Museum of Art, Philadelphia, PA
Thinking Print, Museum of Modern Art, New York, NY
Museum Vitale, Museum Morsbroich, Leverkusen
Painting into Photography, Museum of Contemporary Art, Miami, FL
Face and Figure, Contemporary Art, Museum of Fine Arts, Boston, MA
Making Pictures, Women and Photography, 1975 – Now, Nicole Klagsbrun, New York, NY

1995
Critiques of Pure Abstraction, Sarah Campbell Blaffer Gallery, University of Houston, Houston, TX;
Illingworth Kerr Gallery, Alberta College of Art, Calgary, Alberta, Canada;
Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE; UCLA at the Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA;
Crocker Art Museum, Sacramento, CA;
The Lowe Museum, University of Miami, Coral Gables, FL;
Frederick R. Weisman Museum, University of Minnesota, Minneapolis, MN
Pittura Immedia, Neue Galerie am Landesmuseum Joanneum, Graz, Austria
In a Different Light, University Art Museum, Berkeley, CA
L’Immagine Reflessa, Centro per l’Arte Contemperanea, Luigi Pecci, Prato, Italy
Temporarily Possessed, The New Museum, New York, NY
25 Years, Margo Leavin Gallery, Los Angeles, CA

1994
Pictures of the Real World (In Real Time), Paula Cooper Gallery, New York, NY
“After Art: Rethinking 150 Years of Photography,” Henry Art Gallery, University of Washington, Seattle, WC
Group Exhibition, Musée d'art moderne et contemporain, Geneva, Switzerland
The Ruse of the Aura, Vienna Secession, Vienna, Austria
Die Erste Sammlung, Akademie der bildenden Künste, Vienna, Austria
Duchamp’s Leg, Walker Art Center, Minneapolis, MN
Untitled (Reading Room), Margo Leavin Gallery, Los Angeles, CA
25 Years: an Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA

1993
The Elusive Object, Whitney Museum of Art at Champion, Stamford, CT
Konstruction/Zizat: Kollektive Bilder in der Fotografie, Sprengel Museum Hannover, Hannover, Germany
Photoplay, Center for Fine Arts, Miami; Museo Amparo, Puebla, Mexico; Museo de Arte
Contemporáneo de Monterrey, Monterrey, Nuevo Leòn, Mexico; Centro Cultural Consolidado, Caracas, Venezuela;
Museu de Arte de São Paulo, São Paulo, Brazil; Museo Nacional de Bellas Artes, Buenos Aires, Argentina;
Museo Nacional de Bellas Artes, Santiago, Chile

1992
Allegories of Modernism: Contemporary Drawing, Museum of Modern Art, New York, NY Inscapes, De Appel, Amsterdam, The Nederlands Repetition/Transformation, Centro Reina Sofia, Madrid, Spain

1991
The Picture After the Last Picture, Galerie Metropol, Vienna, Austria
Beyond the Frame: American Art, 1960–1990, Setagaya Art Museum, Tokyo, Japan; National Museum of Art, Osaka, Japon; Fukuoka Art Museum, Fukuoka, Japan
Aspects de l’art du XXe siècle: le chef–d’oevre à l’épreuve de sa copie, Abbaye Saint–André, Centre d’Art Contemporain, Meymac, France Devil on the Stairs: Looking Back on the Eighties, Institute of Contemporary Art, Philadelphia, PA
Oeuvres originales, F.R.A.C. de Pays de la Loire, Gétigné–Clisson, France

1990
Culture and Commentary, Hirshhorn Museum, Washington, D.C.
With the Grain: Contemporary Panel Painting, The Whitney Museum of American Art, Fairfield County, Stamford, CT
Life Size, The Readymade and After, The Israel Museum, Jerusalem, Israel
Un art de la distinction?, Abbaye Saint–Andre, Centre d’Art Contemporain, Meymac, France
Affinitées selectives V: Sherrie Levine/Bertrand Lavier, Palais des Beaux-Arts, Brussels, Belgium
The Charade of Mastery, The Whitney Museum of American Art at Federal Reserve Plaza, New York, NY
Feux pâles, capc Musée d’art contemporain, Bordeaux, France

1989 Prospect 89, Kunstverein and Schirn Kunsthalle, Frankfurt, Germany
Bilderstreit, Rheinhalle, Cologne, Germany
The Whitney Biennial, The Whitney Museum of American Art, New York, NY
A Forest of Signs: Art in the Crisis of Representation, The Museum of Contemporary Art, Los Angeles, CA
Confronting the Uncomfortable: Questioning Truth and Power, Yale University Art Gallery, New Haven, CT
What is Contemporary Art?, Rooseum, Malmö, Sweden
Image World: Art and Media Culture, The Whitney Museum of American Art, New York, NY
Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria

1988
Cultural Geometry, Deste Foundation, Deka Foundation of Cyprus, Athens, Greece
The Image of Abstraction, The Museum of Contemporary Art, Los Angeles, CA
Carnegie International, Carnegie Museum of Art, Pittsburgh, PA
L’objet de l’exposition, Centre National des Arts Plastiques, Paris, France

1987
New York Art Now, The Israel Museum, Jerusalem, Israel
Avant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles, CA
Photography and Art 1946-1986, Los Angeles County Museum of Art, Los Angeles, CA
Post–Abstract Abstraction, Aldrich Museum of Contemporary Art, Ridgefield, CT
Implosion: A Postmodern Perspective, Moderna Museet, Stockholm, Sweeden

1986
The Sixth Biennial, Art Gallery of New South Wales, Sydney , Australia
Abstract Appropriations, Grey Art Gallery, New York, NY
Political Geometries, Hunter College Art Gallery, New York, NY
As Found, Institute of Contemporary Art, Boston, MA
Tableaux abstraits, Villa Arson, Nice, France
Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN
Endgame: Reference and Simulation in Recent Painting and Sculpture,ICA, Boston, MA
Europa-Amerika, Museum Ludwig, Cologne, Germany
Art and Its Double: A New York Perspective, Fondació Caixa de Pensions, Barcelona, Spain
Sherrie Levine and Haim Steinbach, Jay Gorney Modern Art, New York, NY

1985
The Whitney Biennial, The Whitney Museum of American Art, New York, NY
Vernacular Abstraction, Wacoal Art Center, Tokyo, Japan
Correspondences, La Fôret Museum, Tokyo, Japan
Talking Back to the Media, Foundation de Appel, Amsterdam, The Nederlands
Repetitions: A Postmodern Dynamic, Hunter College Art Gallery, New York, NY
Progressive Collecting, The Photography Gallery, La Jolla, CA

1984
Difference: On Sexuality and Representation, The New Museum, New York; Renaissance Society, Chicago; ICA, London, England
Ailleurs et Autrement, ARC Musée d’art moderne de la ville de Paris, Paris, France
Between Here and Nowhere, Riverside Studios, London, England
Artists Space Tenth Anniversary Show, Artists Space, New York, NY
Hirshhorn Tenth Anniversary Show, Hirshhorn Museum, Washington, D.C.
Drawings After Photography, Allen Memorial Art Museum, Oberlin College, Oberlin, OH
Mannerism: A Theory of Culture, The Vancouver Art Gallery, Vancouver, Canada
Image Scavengers, Institute of Contemporary Art, Philadelphia, PA
Art and Politics, Allen Memorial Art Museum, Oberlin College, Oberlin, OH

1983
Seventy–Fourth American Exhibition, Chicago Art Institute, Chicago, IL

1982
Documenta 7, Museum Fridericianum, Kassel
Art and Social Change, Allen Memorial Art Museum, Oberlin College, Oberlin, OH
Mannerism: A Theory of Culture, Vancouver Art Gallery, Vancouver, Canada

1981
Inespressionismo Americano, Museo di S. Agostino, Genoa, Italy
Couches, Diamonds and Pie, P.S.1, New York, NY
Erweiterte Fotografie, 5. Wiener Biennale, Wiener Secession, Vienna, Austria

1980
Pictures and Promises, The Kitchen, New York, NY
Remembrances for Tomorrow, New 57 Gallery, Edinburgh, UK
Horror Pleni, Padiglione d’Arte Contemporanea, Milan, Italy

1977
“Pictures,” Artist Space, New York, NY

BIBLIOGRAPHY (international / literary bibliography excluded)

BOOKS AND CATALOGUES

2008
“Color Chart: Reinventin Color, 1950 to Today”, exhibition catalogue, The Museum of Modern Art, New York, NY, 2008, pp. 204-207; illus. “Whitney Biennial 2008”, exhibition catalogue, Whitney Museum of America Art, New York, NY, 2008, pp.169-169; illus. Congdon, Kristin G. and Hallmark, Kara Kelley. Twentieth Century: “United States Photographer”, Greenwood Press, Westport, CT, 2008, pp. 149-152; illus. “Exquisite Corpus: Interacting with the Fragmented Body”, exhibition catalogue, Herbert. F. Johnson Museum of Art, Independent Student Publications, 2008, pg.17; illus. “Correspondences: Contemporary Art from the Collecion Patricia Phelps de Cisneros”, exhibition catalogue, Fondacion Cisneros and Wheaton College, 2008, pp. 16, 52-55; illus. Heartney, Eleanor. “Art Today”, Phaidon Press, New York, NY, 2008, pp. 43, 45, 123; illus. Enwezor, Okwui. “Archive Fever: Uses of the Document in Contemporary Art”, exhibition catalogue, International Center of Photography, New York and Steidl Plublishers, Göttingen, Germany, 2008, pp. 214-229; illus. “Martian Encyclopaedia of Terrestrial Life”, exhibition catalogue, Barbican Art Gallery and Merrel Publishers Limited, 2008, London, England, 2008, pg. 39; illus. “560 Broadway: A New York Drawing Collection at Work, 1991-2006, ed. Amy Eshoo, Yale University Press, New Heaven, CT, 2008

2007
Katzeff, Miriam, Thomas Lawson and Susan Morgan, eds. “Real Life Magazine: Selected Writings and Projects 1979-1994”, New York: Primary Information, 2007, cover illus. De Corral, Maria and John Lane, “Fast Forward: Contemporary Collections for the Dallas Museum of Art”, exhibition catalogue, Dallas Museum of Art and Yale University Press, New Haven and London, CT, 2007, p.237, illus. Westbrook, Lindsey, “Take 2: Women Revisiting Art History” (Oakland: Mills College Art Museum, 2007), pp.26, illus. “Art Works: The Progressive Collection”, Distributed Art Publishers, New York, NY, 2007, pg. 35; illus. Willberg, Peter. “Sherrie Levine”, exhibition catalogue, text by David Thorp, Simon Lee Gallery and Nyehaus, 2007; illus. “Design contre Design”, exhibition catalogue, Galeries Nationales du Gran Palais, Paris, France, 2007; illus. Tricot, Xavier and Cheim, John. “I Am As You Will Be: The Skeleton In Art”, essay by Xavier Tricot, exhibition catalogue, Cheim & Read, New York, NY, 2007; illus.

2006
“Sherrie Levine: Abstraction”, exhibition catalogue, The Arts Club of Chicago, Chicage, 2006, illus.

2005
Taylor, M.J., ed. “The Downtown Book: The New York Art Scene,

1974-1984”, Princeton
University Press, Princeton, New Jersey, 2005, illus.
Taylor, Brandon. “Art Today”, Laurence King Publishing Ltd., London, England, 2005, illus.

2004
“Disparities & Deformations: Our Grotesque”, exhibition catalogue, text by Robert Storr, SITE, Santa Fe, New Mexico, 2004, p.78-79, illus. Iizawa, Koutaro, ed. “The Concise History of World Photograph”, Bijutsu Shuppan-Sha, Ltd., Tokyo, Japan, 2004, p.126, illus.
“Off the Wall: Works from the JPMorgan Chase Collection”, exhibition catalogue, Bruce Museum and JPMorgan Chase, New York, 2004 p.36, illus.
Perry, Gill and Paul Wood, ed. Themes in Contemporary Art, Yale University Press, New Heaven and London in association with The Open University, 2004, illus.
“Singular Forms (Sometimes Repeated): Art from 1951 to the Present”, The Solomon R. Guggenheim Foundation, New York, 2004, p.135, illus.
Valeriani, Luisa. “Dentro la Trasfigurazione”, Meltemi editore, Roma, Italy, 2004, p.218, illus.

2003
Buskirk, Martha. “The Contingent of Comtemporary Art”, The MIT Press, Massachusettes, 2003, p.61,63-68,71,84,95,101-102,105,182-183, illus.
“DITS”, Musée de Arts Contemporains de la Communauté française de Belgique, Belgium, 2003, p.96-97, illus.

2002
“Art in Embassies Program: U.S. Embassy – Paris”, collection catalogue for the U.S. Embassy in Paris, Washington DC, December, 2002. Ricco, John Paul, “The Logic of the Lure”, The University of Chicago Press, Chicago and London, 2002, illus. p. 139 “Pictures”, exhibition catalogue, Artists Space, New York, 2002.
Walter, Christine, “Bilder erzählen”, Weimar, VDG Verlag, 2002, illus. p. 49.

2001
“American Visionaries: Selection from the Whitney Museum of American Art”, Whitney Museum of American Art, New York, 2001, p. 182, illus. Armstrong, Phillip, et al. “As Painting: Division and Displacement”, exhibition catalogue, Wexner Center for the Arts, Columbus, OH., p. 57, 129-133, illus.
“Camera Women: Women Photographers in the Collection of the Princeton University Art Museum”, Princeton, NJ, 2001, illus.
“Vicente Pascual Circulos/Cielos”, text by Chris Gilbert. Illus., p. 42. Exhibition catalogue, Palacio de Montemuzo, Zaragoza, Spain, (11/00 – 1/01) Grosenick, Uta, (ed) “Women Artists in the 20th and 21st Century”, Taschen, p. 312-317, illus.
Heartney, Eleanor. “Postmodernism”, Tate Publishing, London, p. 36-44, illus.
Reckitt, Helena, editor. “Art and Feminism”, Phaidon Press, May 2001, illus.

2000
“Century Of Innocence: The History of the White Monochrome”, exhibition catalogue, Rooseum- Center for Contemporary Art, Malmo Sweden, and Liljevalchs Konsthall, Stockholm, Sweeden, Editors: Asa Nacking, Bo Nilsson.
“Sherrie Levine / Joost van Oss: Sculpture”, essay by Catherine Ingraham. Published on the occasion of the exhibition, 23 October – 4 December 1999 at Paula Cooper Gallery, New York.

1999
“The History of Western Art”, Shogakukan, Japan, 1999, p.1035, illus.
“Mondriaan Foundation International 1999” (annual report), Mondriaan Foundation, Amsterdam, 1999, pp. 38-39, illus. Krauss, Rosalind. “Bachelors”, MIT Press: Cambridge, London, 1999, pp.179—190.
Naumann, Francis M. “Apropos of Marcel: The Art of Making Art after Duchamp in the Age of Mechanical Reproduction”. Published on the occasion of the exhibition 8-30 October 1999 at Curt Marcus Gallery, New York, New York. pp. 26-31.
“Examining Pictures”, exhibition catalogue, Whitechapel Art Gallery, London. Illus., p. 12.

1998
“Sherrie Levine”, Museum Morsbroich and Musée d’art moderne et contemporain, Geneva, texts by Michel Assenmaker, Erich Franz and Susan Kandel, prefaces by Susanne Anna and Christian Bernard, 1998.

1996
“Sherrie Levine, Sculpture”, Jablonka Galerie and Margo Leavin Gallery texts by Catherine Ingraham, Sylvia Lavin and Howard Singerman, 1996.
“Sherrie Levine, Cathedrals”, Jablonka Galerie and Margo Leavin Gallery, text by Sherrie Levine, 1996. “Sherrie Levine, New Photography”, Musée d’art moderne et contemporain, Geneva, text by Sherrie Levine, 1996.
Crow, Thomas. “Modern Art in the Common Culture”, Yale University Press: New Haven and London, 1996.
De Duve, Thierry. “Kant after Duchamp”, MIT Press: Cambridge, 1996. Foster, Hal. “The Return of the Real”, MIT Press: Cambridge, 1996.

1995
“Newborn”, Galerie Deux, Tokyo, text by Ann Temkin, preface by Sherrie Levine, 1995.

1993
“Newborn”, Philadelphia Museum of Art, Philadelphia, text by Ann Temkin, preface by Sherrie Levine, 1993.

1991
“New Work: Sherrie Levine”, San Francisco Museum of Modern Art, San Francisco, text by John Caldwell (brochure), 1991. “The Picture After the Last Picture”, Galerie Metropol, Wien, “Sherrie Levine Makes a Monochrome,” text by Rosalind Krauss, 1991.
“Sherrie Levine”, Kunsthalle Zürich, text by David Deitcher and interview by Jeanne Siegel, 1991. “Sherrie Levine: Fountain”, Mary Boone Gallery, New York, text by Bruce Ferguson, 1991.

1989
“Sherrie Levine”, Mary Boone Gallery, New York, text by Rosalind Krauss, 1989. Bonito Oliva, Achille. “Superart”, Giancarlo Politi Editore, Milan, Italy, 1989.

1988
“Art at the Edge: Sherrie Levine”, High Museum of Art, Atlanta, texts by Susan Krane and Phyllis Rosenzweig (brochure), 1988. “Sherrie Levine”, Hirshhorn Museum, Washington, D.C., texts by Susan Krane and Phyllis Rosenzweig (brochure), 1988. “Sherrie Levine”, Galerie Nächt St. Stephan, Wein, text by Dieter Schwartz, 1988.

1987
“Sherrie Levine”, Mary Boone Gallery, New York, text by Donald Barthelme, 1987. “Sherrie Levine / Matrix 94”, Wadsworth Atheneum, Hartford, Connecticut, text by Andrea Miller–Keller (brochure), 1987. “Levine, Sherrie, Five Comments, Blasted Allegories”, edited by Brian Wallis, New York, The New Museum, 1987, pp. 92–93.

1985
“The Best of Both Worlds: Sherrie Levine’s After Walker Evans”, Mary and Leigh Block Gallery, Northwestern University, Evanston, Illinois, text by David Deitcher (brochure), 1985

MAGAZINES, NEWSPAPERS AND JOURNALS

2008
Sinderman, Howard. “One and All One: Sherrie Levine and The Mother of Us All”, Art Forum Summer 2008, pp. 111-114; illus Staple, Polly. “Switzerland”, Frieze, June-July 2008, pp. 178, 180; illus.
Canning, Susan. “Reviewer: Whitney Biennial” Art Papers, May/June 2008, pg.50 Goldberg, RoselLee. “Diary”: Performance Anxiety: Political Currents at the Whitney Biennial”, Modern Painters, May 2008, pp. 42-45; illus.
“Sherrie Levine”, The New Yorker, May 5, 2008, pg.13 Smith, Roberta. “Sherrie Levine”, The New York Times, April 25, 2008, pg. 29 “Medium Cool”, Time Out New York, April 24-30, 2008, pg.102 “Short List”, The New Yorker, April 14, 2008, pg. 13 “The Borrower: Appropriate Behaviour”, New York Magazine, April 7, 2008, pp.96-97 “Sherrie Levine”, Time Out New York, April 3-9, 2008, pp.70-71 Burton, Johanna. “Primary Sources”, Artforum, April 2008, pp. 340-347; illus. Pollack, Barbara. “Review: ‘Archive Fever’ at the International Center of Photography, ARTnews, March 2008, pg.134 Halle, Howard. “Whitney Biennial 2008”, Time Out New York, March 13-19, 2008, pg. 78; illus. Rosenberg, Karen. “Primary Season at the Modern”, The New York Times, March 4, pp. E1, E5. Pollak, Barbara. “Archive Fever”, Art News, March 2008, pg 134 Stringfield, Anne. “Saturation Point”, Vogue, February, 2008, pp. 250-253, 291-292 Flood, Richard. “Looking Back: Solo Shows”, Frieze, January-February 2008, pg. 135 Holland, Cotter. “Well, It Lokks Like Truth”, The New York Times, January 18, 2008, pp. E31, E34 Virno, Paolo. “Jokes and Innovative Action: For a Logic of Change”, Artforum, January, 2008, pp’ 250-257, 301-304; illus

2007
“Works on Paper”, Time Out New York, December 12-26, 2007, pg.218 Hurt III, Harry. “Stiker Shock a Hazard, Even When the Artists Are Only Potential Stars”, New York Time, December 15, 2007, pg. C5 Johanna Burton, “Sherrie Levine”, Artforum, Best of 2007, December 2007, pp. 326 – 327. “Sherrie Levine”, KultureFlash, 24 October 2007, www.kultureflash.net. “Best of 2007”, Artforum, December 2007, Cover; illus Vogel, Carol. “Whitney Biennial Stretches to Armory”, The New York Times, November 16, 2007, pg. E23; Genocchio, Benjamin. “Sherrie Levine”, The New York Times, October 12, 2007; illus McElheny, Josiah. “Readymade Resistance”, Artforum, October 2007, pp. 327-335; illus. Saado, Delfim. “Pyramid of Skulls”, Courrier International, October 5-11, 2007, pp. 38-39; illus. Brener, Julie. “Minnesota Modern”, Art & Auction, September 2007, pp. 122-127; illus. Vogel, Carol. In for a Penny, In fot the Pounce”, The New York Times, June 14, 2007, pp. E1, E5. Ellen Mara De Wachter, “Sherrie Levine”, Artforum, 15. July 2007, www.artforum.com. “Still Life & Kicking”, The New Yorker, June 2007, p.24 (interview) “Sherrie Levine”, The New Yorker, 14 May 2007, p.28 “Sherrie Levine: Stalker”, Santa Fe Trend, Spring 2007, vol. 8, no. 1, pp. 44-45; illus, (nterview) Taylor, Paul, “Sherrie Levine Plays with Paul Taylor”, (Reprint), Flash Art, March-April 2007, pp.116-119, illus.

2006
Graw, Isabelle, “When Procedures Become Market Tools,” [interview with Johanna Burton] Texte Zur Kunst, June, 2006; illus. Zelevansky, Lynn. “Flying Deeper and Farther: Kusama in 2005,” Afterall, Spring/ Summer, 2006, pp. 54-62; illus., cover. Hasegawa, Yuko. “The Spell to Re-integrate the Self: The Signifcance of the Work of Yayoi Kusama in the New Era,” Afterall, Spring/ Summer, 2006, pp. 45-53; illus., cover. Leffingwell, Edward, “Sherrie Levine at Paula Cooper,” Art in America, June/ July, 2006, p. 184; illus. Burton, Johanna, “Sherrie Levine,” Artforum, Summer 2006, p. 351; illus. “An Ongoing Low-Grade Mystery,” The New Yorker, June 5, 2006, pg. 17. Johnson, Ken, “An Ongoing Low-Grade Mystery,” The New York Times, June 2, 2006, p. E22. “Sherrie Levine,” The New Yorker, May 2006, pg. 20. Cotter, Holland. “Experience Matters: Creators in Midcareer and Beyond,” The New York Times, April 21, 2006, pp. E31, E39. Exertier, Nicolas. “L’Angoisse simulée de l’influence (After Harold Bloom),” ART PRESENCE, December, 2006, pg. 4, illus. Szabo, Julia. “Art Meets Arf,” New York Post, April 16, 2006, illus.

2005
Cotter, Holland. “Walker Art Center Probes Creative Fringes and Finds New Stars,” New York Times, April 15, 2005, p. E31&33. Pecoli, Vincent. “Abstraction and Appropriation,” Art Monthly (UK), April 2005, p. 7-10, illus. Smith, Roberta. “Postmodern Wandering in a Forest of Poses,” The New York Times, September 2, 2005, p. E29, illus. Spiegler, Marc. “Why Experience Pays Off,” The Art Newspaper, December 3, 2005, p. 1, 8.

2004
Deitcher, David. “’The Last Picture Show’ Walker Art Center, Minneapolis,” Artforum, February, p. 144. Estep, Jan. “The Last Picture Show,” frieze, March 2004, p. 98-98. Halle, Howard. “Creative time,” Time Out New York, Dec. 2-8, p. 24-27. Mullin, Diane. “The Last Picture Show: Artists Using Photography, 1962-1980 at Walker Art Center, Minneapolis,” art on paper, January/February 2004, p. 79. Ratcliff, Carter. “Review of Books: Beyond Minimalism,” Art in America, December 2004, p. 41-42. Singerman, Howard. “A la manera de Sherrie Levine,” Otra Parte, Winter 2004, p. 41-45, illus. Slyce, John. “Exhibitions Reviews: Sherrie Levine,” Art Monthly, June 2004, p. 32-33, illus. Vogel, Carol. “Inside Art: The Walker Reopening,” The New York Times, January 16, 2004, p. E35.

2003
Taplin, Robert, “Reviews: Sherrie Levine @ PCG”. Art in America, July 2003, p. 87, ills. Smith, Roberta. “Art in Review: Sherrie Levine @PCG”. The New York Times, April 25, 2003, p. E39. Cotter, Holland. “Uptown, Too Has Heat and Light Aplenty”. The New York Times, May 30, 2003, pp. E31, E35, ills. Burton, Johanna. “Sherrie Levine @ Paula Cooper Gallery”, Time Out New York, April 17-24, p.17, ills. Hainley, Bruce. “Best of 2003,” Artforum, December 2003, p. 136, illus. Hopkins, David. “The politics of Equivocation: Sherrie Levine, Duchamp’s ‘Compensation Portrait’, and Surrealism in the USA 1943-45”, Oxford Art Journal, vol. 26, Number 1, 2003, pp.45-68, ills. Singerman, Howard. “Sherrie Levine talks to Howard Singerman”, Artforum, April 2003, pp. 190-191, ills.

2002
Cometti, Jean-Pierre. “La monnaie de la pièce. Remarques sur l’art, l’échange et la valeur.” A Run for the Money. Comments on Art, Exchange and Value. Parachute 106, April – June 2002, p. 70-85, illus. Kerr, Merrily, “From the Observatory,” Flash Art, May – June 2002, p. 82. Levine, Sherrie, “Pathos,” October 101, July 2002, New York, p. 85-95, illus. Singerman, Howard, “Sherrie Levine’s Art History,” October 101, July 2002, New York, p. 98-121, illus.

2001
“Goings On About Town,” The New Yorker, 18 June 2001, p. 32. Attias, Laurie. “A Wide Angle: Paris Photo shoots for a broader public.” Art and Auction. December 2001, p. 62, 64, illus. Carpo, Mario. “L’Oeuvre d’Art à l’époque de sa reproduction… anodisée;” L’Architecture d’Aujourd’hui, Sep. – Oct. 2001, p. 12, illus. Dailey, Meghan, “Pictures at an Exhibition,” TimeOut, July 5-12, 2001, p. 60, illus. Harvey, Doug, “Alias Garth Brooks (Good Ol’ Boy or Transgender Cyborg?),” Art Issues, Summer 2001, p. 15-8. Meyers, Holly. “Furniture Finds New Form as Sculpture,” The Los Angeles Times, July 2001 Section F p.12 Rubenstein, Raphael, “Opening the Field,” Art in America, October 2001, p. 57-61 Smith, Roberta, “When Photography Became Postmodern,” The New York Times, June 29, 2001, p. E36. Spaeth, Catherine, “As Painting: Division and Displacement,” Dialogue, July-August 2001, p.17- 20.

2000
“Around 1984: A Look at Art in the 80’s,” P.S.1, May 21 through September 2000, illus. DeCarlo, Tessa, “Laying Bare the Uncertain Underside of the Truth,” The New York Times, April 9, 2000, pp. E 39-40. Exertier, Nicolas. “After Sherrie Levine,” Art Presence, No. 36 Oct 2000, p. 2-9 Frankel, David. “Sherrie Levine and Joost van Oss,” Artforum, March 2000, p.129, illus. Sheets, Hilarie M, “Baffled, Bewildered and Smitten,” Artnews, September 2000. p. 130 - 134 Steinbach, Haim, “L’arte frammentata,” Tema Celeste, January-February 2000, no. 77, p. 84 -85, illus.

1999
“What’s New in the Galleries,” Dallas Museum of Art Agenda, August/September 1999, p.2, illus. Grandjean, Emmanuel. “Passons l’été en Ford <>,” Tribune de Genève, 19-20 Juin 1999. Grandjean, Emmanuel. “Le Mamco passe l’été au volant de sa Ford <>,” Tribune de Genève, 23 Juin 1999. H.B. “Patchwork au Mamco,” Libération, 27 July 1999, p.26, illus. M.D. “Expos,” L’Hebdo, 15 July 1999, p.71. Mathonnet, Philippe. “Le Musée d’art moderne et contemporain de Genève se montre plus vif que jamais,” Le Temps, 28 Juin 1999. Smith, Roberta. “The Modern Looks at Artists Looking at Museums,” The New York Times, March 12, 1999, pp. E37, E40. Smith, Roberta. “Jan Schoonhoven and Sherrie Levine/Joost Van Oss,” The New York Times, November 19, 1999, p. E41. Smith, Roberta. “Jan Schoonhoven and Sherrie Levine/Joost Van Oss,” The New York Times, November 26, 1999, p. E42. “Sherrie Levine and Joost van Oss,” The New Yorker, November 29, 1999, p.28 “Recommend: Sherrie Levine and Joost van Oss,” New Art Examiner, November 1999 Glueck, Grace. “Duchamp’s Replications. Duchamp’s Replications” The New York Times, 22 October 1999 p. B39. Ollman, Leah. “After the Fact.” Los Angeles Times, January 22, 1999, p. F27. Albetini, Rosanna. “Technological Rituals: Stories From the Annenberg Dialogues.” University of Southern California, Annenberg Center for Communication

1998
“Manifestos”, New York Arts, September 1998, No. 24, p. 19. Kandel, Susan. art/text, No. 9, November 1997—January 1998, pp. 66—70. Rutledge,Virginia. “Sherrie Levine at Margo Leavin,” Art in America, January 1998, p. 106. Grigg, Jennifer. Report from London. Afterimage, January/February 96, p. 4

1997
Kandel, Susan. “Sherrie Levine: Stalker.” art/text, November 97 p.66-70.

1996
Buskirk, Martha. “Interview with Sherrie Levine,” The Duchamp Effect, MIT Press, 1996, Cambridge, p. 176—181. Durden, Mark. “Sherrie Levine,” Art Monthly, October 1996, London, p. 50—51. Jeffrey, Ian. “Sherrie Levine,” Untitled, Winter 1996/1997, London. Martin, Tim. “Sherrie Levine,” Frieze, November 1996, p. 85. McKenna, Kristine. “Sherrie Levine,” Los Angeles Times, November 17, 1996, Calendar, p.16, illus. Wylie, Charles. “Sequential Geometry: Prints by Judd, Kelly, Levine & Schuyff,” The Print Collector’s Newsletter, Jan-Feb. 1996, No. 6., p. 201 - 204. Ippolito, Jon. “Where Has all the Uncertainty Gone?” Flash Art, Summer 1996.

1995
Frank, Peter. “Art Picks of the Week,” LA Weekly, March 20,1995. Kandel, Susan. “Sherrie Levine,” Art Issues, Summer 1995, p. 41, illus. Levine, Sherrie. “Born Again,” Original Symposium, Salzburger Kunstverein, Reine Cantz, 1995, p. 121—129. Pagel, David. “Sherrie Levine’s Copies of Copies,” Los Angeles Times, March 16, 1995, p. F6.

1994
Blair, Dike. “Sherrie Levine,” Flash Art International, Summer 1994, p. 123. Buskirk, Martha. “Interview with Sherrie Levine,” October, Fall 1994, p. 99—103. Rimanelli, David. “Sherrie Levine,” Frieze, May 1994, p.59. Singerman, Howard. “Seeing Sherrie Levine,” October, Winter 1994, p. 78-107. Smith, Roberta. “Sherrie Levine,” New York Times, March 4, 1994. Smolik, Noemi. “Meine Absicht is es nicht, ein Kunstwerk zu kopieren, sondern es zu erfahren, interview with Sherrie Levine,” Kunstforum International, January/February 1994, p. 286- 291. Spears, Dorothy. “Sherrie Levine,” Galeries Magazine, Spring 1994, p.103.

1993
Levine, Sherrie. “Farnsworth House/Seagram Building,” Assemblage, August 1993, cover and end leaves. Lewallen, Constance. “Sherrie Levine, interview with Sherrie Levine,” Journal of Contemporary Art, Winter 1993, pp. 59-83.

1992
Franz, Erich. “Presence Withdrawn,” Parkett, June 1992, pp. 95–98. Halle, Howard . “Fountain and La Fortune,” Grand Street, No. 42, summer 1992, p. 81–95. Kremer, Mark. “Een spiritueel reservoir,” Metropolis M, February 1992, p. 18–21 Salvioni, Daniela. “The Transgression of Sherrie Levine,” Parkett, June 1992, p. 82–84. Singerman, Howard. “Looking After Sherrie Levine,” Parkett, June 1992, p. 101–104. Soutif, Daniel. “Sherrie, copies non conformes,” Libération, July 20, 1992, p. 32. Levine, Sherrie. “Insert” Grand Street 42, Summer 92, p. 81-83.

1991
Decter, Joshua. “Sherrie Levine,” Flash Art, October 1991, p.137. Francblin, Catherine. “Sherrie Levine–l’âge d’or de la reproduction,” Art Press, March 1991, p.33–37. Hayt–Atkins, Elizabeth. “Sherrie Levine,” Galeries Magazine, August–September 1991, p. 104. Levin, Kim. “Sherrie Levine,” The Village Voice, June 4, 1991, p. 115. Porges, Maria. “Sherrie Levine,” Artforum, April 1991, pp. 131–132. Siegel, Jeanne. “Uncanny Repetition: Sherrie Levine’s Multiple Originals,” Arts Magazine, September 1991, pp. 31–35. Smith, Roberta. “Sherrie Levine,” The New York Times, May 24, 1991, p. C26. Wolin, Joseph R. “Fountain, Field and Pool,” Artscribe, September 1991, p.83, illus.

1990
Kalina, Richard. “Sherrie Levine,” Tema Celeste, January 1990, pp. 66–67. Krauss, Rosalind, “Bachelors,” October, Spring 1990, pp. 52–59. Levin, Kim. “Transparent Contradictions: New Glass in New York,” Glass Magazine, June 1990. pp. 34–43. Lovejoy, Margot. “Art, Technology and Postmodernism: Paradigms, Parallels and Paradoxes,” College Art Association Art Journal, September 1990, pp. 257–264. Magnani, Gregorio. “Thomas Ruff und Sherrie Levine,” Texte zur Kunst, November 1990, pp. 183–184. Miller, John. “The Weather Is Here, Wish You Were Beautiful,” Artforum, May 1990, pp. 152–159, illus. only. Morgan, Stuart. “Etwas + Nichts,” Durch, September 1990, pp. 182–187. Princenthal, Nancy. “Irrepressible Vigor: Printmaking Expands,” ArtNews, September 1990, pp.134–141. Tallman, Susan. “Meltdown,” Arts Magazine, April 1990, pp. 25–26. Temkin, Ann. “Cumulus from America,” Parkett, April 1990, pp. 136–141.

1989
Cotter, Holland. “Sherrie Levine,” Art in America, November 1989, p. 187. Harrison, Katherine. “Sherrie Levine,” Flash Art, November 1989, p. 133. Heartney, Eleanor. “Sherrie Levine,” Art News, November 1989, p. 162. Kuspit, Donald. “Sherrie Levine,” Contemporanea, December 1989, pp. 90–91. Levin, Kim. “Sherrie Levine,” The Village Voice, October 3, 1989, p. 99. Salvioni, Daniela. “Sherrie Levine,” Flash Art, March 1989, p. 109. Schjeldahl, Peter. “Paperweight,” Seven Days, October 4, 1989, p. 67. Smith, Roberta. “Subtle Ways to Eat Your Cake and Have It Too,” The New York Times, October 8, 1989, pp. H35–H36. Smith, Roberta. “Sherrie Levine Enters the World of Sculpture,” The New York Times, September 8, 1989, p. C23. Woodward, Richard B. “Comics as Inspiration: Are We Having Fun Yet?” The New York Times, April 23, 1989, Section 2, pp. 1, 22.

PUBLIC COLLECTIONS

Art Institute of Chicago, Chicago, USA
Baltimore Museum of Art, Baltimore, USA
Boston Museum of Fine Arts, Boston, USA
Broad Foundation, Los Angeles, USA
Capital Group Companies, Los Angeles, USA
Dallas Museum of Art, Dallas, USA
Ellipse Foundation, Contemporary Art Collection, Lisbon, Portugal
Fundacion La Caixa, Barcelona, Spain
Fundacion Eugenio Lopez, Mexico City, Mexico
Fond National d’art contemporain, Paris, France
Fond Regional d’art contemporain des Pays de la Loire, Nantes, France
Herbert F.Johnson Museum of Art, Cornell University, Ithaca, New York, USA
Hirshhorn Museum and Sculpture Garden, Washington D.C, USA
Israel Museum, Jerusalem, Israel
Kunstsammlung NRW, Dusseldorf, Germanyv Los Angeles County Museum of Art, Los Angeles, USA
Louisiana Museum, Humlebaek, Denmark
Menil Collection, Houston, USA
Metropolitan Museum of Photography, Tokyo, Japan
Metropolitan Museum of Art, New York, USA
Milwaukee Art Center, Milwaukee, USA
Musee d’Art Moderne et Contemporain, Geneva, Switzerland
Museum of Contemporary Art, Chicago, USA
Museum of Contemporary Art, Houston, USA
Museum of Contemporary Art, Los Angeles, USA
Museum of Modern Art, New York, USA
Museum Morsbroich, Leverkusen, Germany
The New Museum, New York, USA
Philadelphia Museum of Art, Philadelphia, USA
Princeton University, Princeton, USA
St. Louis Art Museum, St. Louis, USA
Sammlung Goetz, Munich, Germany
San Francisco Museum of Art, San Francisco, USA
Seattle Art Museum, Seattle, USA
Seibu Museum, Tokyo, Japan
Solomon R.Guggenheim Museum, New York, USA
Swiss Re, New York, USA
Tate Gallery, London, UK
Walker Art Center, Minneapolis, USA
Westfalisches Landesmuseum, Munster, Germany
Whitney Museum of Art, New York, USA