The Counter Feats of Elaine Sturtevant (1924-2014)
Abstract
This article explores the work of Elaine Sturtevant whose oeuvre 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
Domains
Art and art history
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