“What floor is the copycat exhibition on?” I recently overheard a museum visitor ask this of a security guard, presumably hoping to locate <a href="http://www.moma.org/visit/calendar/exhibitions/1497" target=_blank>Sturtevant: Double Trouble</a>. At first glance, the exhibition appears to be a group show of 20th-century masterpieces—a Jasper Johns flag painting here, an Andy Warhol Marilyn Monroe there—until you realize that these are all by Sturtevant, an American artist best known for making her own versions of the works of her contemporaries, including Joseph Beuys, Marcel Duchamp, Keith Haring, and many others.
Posts by Ingrid Langston
It caught my eye when I read last week that Jasper Johns has created a print on translucent paper for the May issue of Art in America magazine. Apparently, the print will feature several of Johns’s “signature motifs,” but the translucent paper might be considered somewhat of a signature motif in its own way.
On selected dates, trained activation facilitators have been stationed in the Drawings Galleries to assist visitors in using the interactive components of Franz Erhard Walther’s First Work Set—a unique work that requires the physical interaction of the viewer to be complete.
Alighiero Boetti, the subject of the current retrospective exhibition Alighiero Boetti: Game Plan, always preferred collaborative initiatives over individual efforts, even when he was working by himself.
Now that Photoshop has enabled complicated image manipulation with the click of a mouse, few of us still resort to using scissors, glue, and a stack of magazines to meet our collaging needs. Throughout the 20th century, however, the technique of collage was an essential strategy for successive generations of artists, from practitioners of Cubism and Dada to Pop art and beyond.
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