American photographer and artist. She studied at the University of Wisconsin, Madison (BA 1969, MFA 1973). Biographical information on Levine is limited, since she has refused to participate in ‘myth-making' associated with art production. She first gained critical attention in the early 1980s, when she was associated with Cindy Sherman, Robert Longo, David Salle and others known as ‘Appropriationists' for on existing imagery from ‘high' and ‘low' culture. Her works have been interpreted as a commentary on the death of and its ideals, notions of artistic originality, the authenticity and autonomy of the art object and its status as a commodity. In Untitled (after Walker Evans)
(10×8 , 1981) Levine re-photographed a reproduction of a photograph by Evans. Such works articulated her fascination with the photographic process and its reproduction, while raising post-structuralist discourses on authorship, originality and history, from which they partly derive. Levine's theoretical rigour was complemented by a delicate, timid, if not remote, handling of materials, adding a sensuous dimension to an otherwise pursuit.
G. Marzorati: ‘Sherrie Levine: “Art in the (Re)Making”', ARTnews, lxxxv/5 (1986), pp. 90–99
D. Deitcher: ‘Sherrie Levine: Rules of the Game', Sherrie Levine (exh. cat., Zurich, Ksthalle; Münster, Westfäl. Landesmus.; Malmö, Rooseum; Paris, Hôtel A.; 1991), pp. 7–13