This book examines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs «after Walker Evans»—taken not from life but from Evans’s famous depression-era documents of rural Alabama—became central examples in theorizing postmodernism in the visual arts in the 1980s. For the first in-depth examination of Levine, Howard Singerman surveys a wide variety of sources, both historical and theoretical, to assess an artist whose work was understood from the outset to...
