STURTEVANT 1930 Born in Lakewood, Ohio   Lives and works in Paris, France   Chicago Art Institute Art Students League, New York University of Zürich BA University of Iowa MA Columbia University     Solo Exhibitions 2006 Anthony Reynolds Gallery, London 2005 Perry Rubenstein Gallery, New York 2004 Brutal Truth, Museum für Moderne Kunst, Frankfurt am Main, Germany Perry Rubenstein Gallery, New York 2003 Dark Threat of Absense, Galerie Thaddaeus Ropac, Paris, FranceGalerie Daniel Blau, Munich, Germany The Sixties. Linchtenstein, Warhol, Wesselmann, Rosenquist, Galerie Daniel Blau, Munich Galerie Mezzanin, Vienna, Austria 2002 ShiftingMental Structures, Neuer Berliner Kunstverein, Berlin, Germany Sturtevant. Works on Paper 1965/66/69, Galerie Daniel Blau, Munich, Germany I Love Arlette, Galerie Thaddaeus Ropac, Paris, France 2001 Dillinger Runing Series, Galerie Thaddaeus Ropac, Paris, France Ca va aller, Galerie Hans Mayer, Berlin, Germany 2000 Copy without Origins: Self as Disappearence, Ecole Regionale des Beaux-Arts de Nantes 1999 Duchamp 1200 Coal Bags et autres pieces, MAMCO Musée d’art moderne et contemporain, Genève, Switzerland Sturtevant, 1225 Objects, Casino Luxembourg, Forum d’Art Contemporain, Luxembourg 1998 Int./Ext. Visibilities, Photographies Recentes, Galerie Thaddaeus Ropac, Paris, France Ca va aller, Air de Paris, Paris, France 1997 Galerie Six Friedrich, Munich, Germany 1996 Ecole Régionale des Beaux-Arts, Le Mans, France 1995 Powerful Reversals, Galerie Hans Mayer, Düsseldorf, Germany 1994 Galerie Thaddaeus Ropac, Paris, France 1993 Villa Arson, Musée d’Art Contemporain, Nice, France Stux Gallery, New York, NY Galerie Hans Mayer, Düsseldorf, Germany Sturtvant. Works from 1964- 1992, Galerie Six Friedrich, Munich, Germany 1992 Württetnbergischer Kunstverein, Stuttgart, Germany Deichtorhallen, Hamburg, Germany 1991 Galerie Thaddaeus Ropac, Paris, France 1990 Rhona Hoffman Gallery, Chicago, IL 1989 Sturtevant. Werke aus 25 Jahren, Galerie Paul Maenz, Cologne, Germany Art Basel 89, Galerie Six Friedrich, Munich, Germany 1988 Sturtevant. Drawings 1988- 1965, Bess Culter Gallery, New York, NY 1987 Daniel Weinberg Gallery, Los Angeles, CA Stux Gallery, New York, NY 1986 White Columns, New York, NY 1974 Onnasch Gallery, New York, NY 1973 Sturtevant. Studies for Warhols’ Marilyns, Beuys’ Action Objects, Duchamps’ atc. Including Film, Everson Museum, Syracuse, NY 1971 Sturtevant. Studies done Beuys’ Action Objects, Reese Palley Gallery, New York, NY 1970 Sturtevant. Huit Tableaux et un Prototype, Galerie Claude Givaudan, Paris, France 1969 Sturtevant. Huit Tableaux et un Prototype, Galerie Claude Givaudan, Paris, France 1967 The Store of Claes Oldenberg, New York, NY Relâche, School of Visual Arts, New York, NY 1966 America America, Galerie J, Paris, France 1965 Bianchini Gallery, New York, NY Crown Gallery, Brussels     Group Exhibitions 2006 Whitney Biennale, Whitney Museum of American Art, New York 2004 20 Jahre 20 Years, 1984- 2004, Galerie Thaddaeus Ropac, Salzburg Before the End, Le Consortium/Usine, Dijon Besides, popularity is a rather lumpy concept, no? (Sturtevant), SITE Magazin + Hausammeer productions, Kunsthalle, Dusseldorf About Painting, Tang Museum, Saratoga Springs 2003 Aftersock, Dickinson Roundell, New York Das lebendige Museum, Museum für Moderne Kunst, Frankfurt am Main, Germany Musée d’Art Contemporain, Bordeaux, France University of Sunderland, Sunderland, United Kingdom Contemporary Art, St. Paul, MN The DaimlerChrysler Collection, Museum fur Neue Kunst, ZKM, Karlsruhe Influence, Anxiety and Gratitude, List Visual Arts Center, Cambridge, MA Site, Düsseldorf, Germany Frac, Limoges, France Living with Duchamp, Tang Museum, Saratoga Springs, NY Re-Produktion 2, Georg Kargi Fine Arts, Vienna Un Tableau dans le décor, Peintures 1970-2000, Musee du Chateaux des Duncs de Bretagne, Nantes 2002 Paris Photo, Paris, France Pace/Macgill Gallery, New York, NY Nederlande Foto Institut, Rotterdam, Netherlands Manifeste oder Egriffifenheir- Was ist das, Galerie Daniel Blau, Munich, Germany Minimalism and After, Sammlung Daimler Chrysler, Berlin, Germany Iconoclash, ZKM Karlsruhe, Germany Min Marilyn, Lijevalchs Konsthall Stockholm, Sweden Art After Art, Neues Museum Weserburg Bremen, Germany Private/Corporate: A Dialogue, Haus Huth, Berlin, Germany Repertoire Ce qu;il te plait 2, MAMCO, Genava. The Private Pary, Vivement 2002!, quatrieme episode, MAMCO, Geneva Vivement 2002!, ciinquieme 20002, cinquieme episode, MANCO, Geneva Vivement 2002!, ciinquieme 20002, sixieme episode, MANCO, Geneva 2001 Ornament und Abstraktion, Foundation Beyeler, Basel, Switzerland Trade- Warren, Wege und Werte im Welthandel, Winterthur Foto Museum, Winterthur, Germany Candice Breitz, Claude Closky, Elain Sturtevant, Martin Walde, Erwin Wurm, Gallery Mezzanin, Vienna, Austria Georg Kargl Fine Arts, Vienna Frac Bretagne, La Bretagne Collectionne, Bretagne, France La Bretagne collectionne l’at de notre temps, les 20 ans du FRAC Bretagne: Melanges, Domaine de Kerguehennec, Centre d’art contemporain, Bigan 2000 Protest and Survive, White Chapel, London, UK Copy Right/Copy Wrong, Ecole des Beaux-Arts de Nantes, France Les 100 sourires de Mona Lisa, Tokyo, Japan 1999 Auffrischender Wind aus wechselnden Richtungen. Internationale Aventgarde seit 1960 . Die Sammlung, Paul Maenz, Neues Museum, Bremen, Germany Air de Paris, Paris, France ZMK, Karlsrube, Germany Apropos of Marcel Duchamp, Curt Marcus Gallery, New York, NY Original Echt/ Falsch, Neues Museum Weserburg, Bremen. Patchwork in progress 5 ‘Oh cet echo’, MAMCO, Geneva Weg aus der Sammlung FER, Froehlich, Graesslin, Weishaupt, ZKM, Karlstuhe 1998 Das Jahrhundert der Kunslerischen Freiheit, Wiener Secession, Vienna, Austria Sequence, Edition Schellmann Munich, New York, NY Upfreshing Wind from Changing Direction, Weimar Neues Museum, Weimar, Germany Painting Now and Forever, Pat Hearn Gallery, New York A Century of Artistic Freedom, City Art Museum, Helsinki, Finland 1997 Galerie von Lintel, Munich, Germany Sous le manteau, Galerie Thaddaeus Ropac, Paris From One Point to Another, Atelier Soardi, Nice, France 1996 Magritte, Montreal Museum of Fine Arts, Montreal, Canada Rene Magritte\; Die Kunst der Konversation, Kunstsammlung Nordhein-Westfalen, Düsseldorf, Germany La Criée, Centre d’Art, Rennes, France L’Art du Plastique, Ecole National Supérieure des Beaux-Arts, Paris, France Family, Nation, Tride, Community SHIFT, Haus der Kultur der Welt, Berlin, Germany Now/Here, Louisiana Museum of Modern Art, Humblebaeck, LA Shift, Neve Gesellschaft fur Bilden kunst, Berlin, Germany Color fields: Selections of the Permanent Collection, MOCA, Los Angeles Seamus Farell, Daniel Faust, Raymond Hains, Richard Hoeck, Yoko Ono, Sturtevant, Rosemarie Trockel, FRAC Bretagne, La Criee, Rennes 1994 MAMCO, Geneva, Switzerland Et qui Libre?, Ecole des Beaux-Arts, Rouen, France Zentrum Paris, Art Frankfurt 94, Frankfurt Saut dans le vide, Maison Centrale des artistes ThDKh, Moscow, Russia 1993 Zentrum Paris, Kunsthalle Ritter, Klagenfurt, Germany Drawings 30th Anniversary Exhibitions, Leo Castelli Gallery, New York, NY Zentrum Paris, Kunsthalle Ritter, Klagenfurt Stux Gallery, New York 1992 Galerie Sylvana Lorenz, Paris, France Galerie Six Friederich, Munich, Germany 1991 Charade of Mastery, Whitney Museum of American Art, New York, NY Denk-Bilder, Kunsthalle der Hypo-Kulturstifstun, Munich, Germany; Heydt-Museum, Wuppertal, Germany Objects for an ideal home, Serpentine Gallery, London, UK Aspect de l’art du XXéme siécle, Abbaye Saint Andre, Meymac, France (Art)_, California State University, Fullerton, CA Hybrid Abstraction, Bennington College, VT Das Goldene Zeitalter, Württembergischer Kunstverein, Stuttgart, Germany 1990 Cel Plaza Installation, Museum of Contemporary Art, Los Angeles, CA Charade of Mastery, Whitney Museum of America Art, New York Spellbound, Mark Richards Gallery, New York 1989 Prospect 89, Frankfurter Kunstverein, Frankfurt am Main, Germany D&S Ausstellung, Kunstverein, Hamburg, Germany A Decade of Drawing, Daniel Weinberg Gallery, Los Angeles Hommage-Demontage, Provinciaal Museum, Hasselt, Museum Moderner Kunst, Vienna The Silent Baroque, Galerie Thaddaeus Ropac, Salzburg 1988 Complexity and Contradiction, Scott Hanson Gallery, New York Hommage-Demontage, Neue Galerie Sammlung Ludwig, Aachen, Wilhelm-Hack-Museum, Ludwigshafen, Stadtisches Museum Gelsenkirchen, Hedendaagse Kunst, Utrecht Vraiment Faux, Fondation Cartier, Jouye-en-Josas 1987 1st Bienal Internacional De Pintura (US Pavillion), Museo De Arte Moderno, Cuenca Ecuador Glittering Prize, Stux Gallery, New York Post-Abstract Abstraction, Aldrich Museum, Ridgefield, Connecticut 1986 Investgations, Mclntosh/ Drysdale Gallery, Washinghton Production Re: Production, Gallery 345, New York 1985 The Art of Appropriation, Alternative Museum, New York 1967 Art in the Mirror, Museum of Modern Art, New York 1966 Institute of Contemporary Art, Philadelfia     Seminars and Lectures 2004 Tate Modern (Film and Events), London Museum fur Moderne Kunst (Tischgesellschaft), Frankfurt am Main 2003 Conference MIT List Visual Arts Center, Cambridge, MA 2002-03 Visiting Professor, MIT School of Architecture, Cambridge, MA 2000-01 MIT School of Architecture, Lecture Series, Cambridge, MA Getty Research Center, Los Angeles 1999-00 Visiting Professor, Harvard University, Cambridge, MA 1997 Royal Danish Academy of Fine Arts, Compenhagen Rijksakademie van beeldende Kusten, Amsterdam 1994 The Museum of Fine Arts, Houston Dallas Museum of Art, Dallas. Cal Arts, Valencia, CA     Solo Exhibition Catalogues, Brochures and Essays 2004 The Brutal Truth, Museum fur Moderne Kunst, Frankfurt am Main 2003 The Sixties, Lichtenstein, Warhol, Wesselmann, Rosenquist, Galerie Daniel Blau, Munich 2002 Shifting Mental Structures, Ed. Alexander Tolnay, Neuer Berliner Kunstverein, Berlin 2001 Sturtevant, Elaine, Copy without Origins: Self as Disappearane, Unpublished essay for exhib. at Galerie Thaddaeus Ropac, Paris 2000 La Petite Interlope, Ecole Regionale des Beaux-Arts de Nantes 1999 Sturtevant, 1225 Objects a Casino Luxembourg, Forum d’art Contemporain, Luxembourg 1998 Sturtevant, Int./Ext. Visibilities. Photographies Recentes, Galerie Thaddaeus Ropac, Paris 1995 Sturtevant, Elaine, Powerful Reversals, Unpublished essay for exhib. at Gallerie Hans Mayer, Dusseldorf 1996 Sturtevant, Ecole Regionale des Beaux-Arts du Mans, Le Mans 1992 Sturtevant Ed. Tilman Osterworld, Wurttembergischer Kunstverein, Stuttgart 1991 Sturtevant, Galerie Thaddaeus Ropac, Paris 1990 Rhona Hoffman Gallery Chicago 1989 Sturtevant, Art’89 Basel, Galerie Six Friedrich, Munich Sturtevant, Works from 25 Years, Galerie Paul Maenz, Cologne 1988 Sturtevant, Drawings 1965- 1988, Bess Cutler Gallery, New York 1987 Sturtevant, Stux Gallery, New York 1973 Studies for Warhol’s Marilyns, Beuys’ Actions and Objects, Duchamps’ etc. Including Film, Ed. Judson Rosebush, Everson Museum of Art, Syracuse, New York 1969-71 Sturtevant, Studies done for Beuys’ Action Objects and Drawings, New York, Paris, Germany 1971 Reese Palley Gallery, New York     Group Exhibition Catalogues and Brochures 2003 The DaimlerChrysler Collection, Museum fur Neue Kunst, ZKM, Karlsruhe Ishtar, Midway Contemporary Art, St.Paul, Minnesota Thresors Publics, 20 ans de creation dans les fonds regionaux d’art contemorain, Edition Flammarion: Paris 2002 Kunst nach Kunst. Ed. Peter Friese, Neues Museum Weserburg, Bremen Iconoclash, Jenseits der Bilderkriege in Wissenschaft, Religion und Kunst, ZKM, Karlsruhe Min Marilyn, Liljevalchs Konsthall, Stockholm Minimalism and After, Neuerwerbungen, Damier Chrysler Contemporary, Berlin Private/Corporate, Werke aus der Sammlung Daimler Chrysler und aus der Sammlung Paul Maenz: Ein Dialog. DaimlerChrrysler Contemporary, Berlin 2001 Ornament und Adstraktion. Ed. Markus Bruderlin and Ernst Beyeler, Fondation Beyeler, Basel Trade- Waren, Wege und Werte im Welthandel Heute Ed. Thomas Seeling, Foto Museum Winterthur, Zurich, Scalo 2000 Copy Right/ Copy Wrong, Ecole Regionale des Beaux-Art de Nantes Prototest and Survive, Whitechapel Art Gallery, London 1999 Original, Echt/ Falsch, Nachahmung, Kopie, Zitat, Aneignung, Falschung in der Gegenwartskunst, Ed. Thomas Deecke, Neues Museum Weerburg, Bremen Kunst Sammeln. Museum fur Neue Kunst, ZKM. Karlsruhe. 1998 Das Jahrhundert der Kunstlerischen Freiheit, Ed. Wiener Sezession, Munich: Prestel 1997 From One Point to Another, Ed. Robert Fleck, Atelier Soardi, Nice 1996 Family, Nation, Tribe, Community, SHIFT, Ed. Neue Gesellscharft fur Bildende Kunst, Haus der Kulturen der Welt, Berlin Louisiana Revy 36, 2-3 Lousiana Museum, Humlebaeck Rene Magritte, Die Kunst der Konversation: Marcel Broodthaers, Joseph Kosuth, Barbara Bloom, Robert Gober, Sturtevant, Ed. Didier Ottinger, Kunstsammlung Nordrhein- Westfalen, Dusseldorf, Munich and New York: Prestel Seamus Farell, Daniel Faust, Raymond Hains, Richard Hoeck, Yoko Ono, Elaine Sturtevant, Rose-marie Trockel, Ed. Robert Fleck, FRAC Bretagne La Criee Rennes 1991 Aspects de l’Art du XXe Siecle, Abbaye St. Andre Centre d’Art Contemorain, Meymac Denk- Blider: Kunst der Gegenwart 1960-1990, Ed. Zdenek Felix, Kunsthalle der Hypo- Kulturstiftung, Munich and Von der Heydt-Museum, Wuppertal Das Goldene Zeitalter, Die Geschichte des Goldes vom Mittelalter zur Gegenwart, Ed. Tilman Osterworld, Wurtttermbergischer Kunstverein, Stuttgart Objects for the Ideal Home: The Legacy of Pop Art, Ed. Andreas C. Papadakis, Serpentine Gallery, London 1990 Charade of Mastery, Deciphering Modernism in Contemporary Art, The Whitney Museum of American Art, New York 1989 The Silent Baroque, Galerie Thaddaeus Ropac, Salzburg and Paris 1988 Complexity and Contradiction, Scott Hanson Gallery, New York Hommage-Demontage, Ed. Uli Bohnen, Neue Galerie Sammlung Ludwig, Aachen Vraiment Faux, Fondation Cartier pour l’art contemporain, Jouye-en-Josas 1987 A Different Corner: Definition and Redefinition, Painting in America Ed. Christian Leigh, 1st Bienal Internacional de Pintura, Museo de Arte Moderno, Cuenca Ecuador Post-Abstract Abstraction, Aldrich Museum Ridgefield 1985 The Art of Appropriation, Rusell Connor, Edgar Franceschi, Jim Jacobs, Alexander Kosolapov, Paul Laster, Peter Nagy, Philip Pocock, Elaine Sturtevant, Alternative Museum, New York     General Literature 2004 Sturtevant, Elaine, The Quixote Incomplete Fragments 1970, Munich: Galerie Daniel Blau Vahrson, Viola, Die Radikalitat der Wiederholung, Interferenzen und Paradoxien im Werk Elaine Sturtevants, PhD, Diss. Hochshule fur Bildende Kunstw, Braunschweig Idid., ‘Zeitlichkeit Interferenzen im Werk Elaine Sturtevants’ Momente im Prozess. Zeitlichkeit kunstlerrischer Produktion, Ed. Karin Gludovatz und Martin Peschken, Berlin: Reimer 2003 Buskirk, Martha, The Contingent Objects of Contemporary Art, Cambridge: MIT Press 2002 Hainley, Bruce and John Waters, Art Works: Sex, London: Thames & Hidson LTD Ottmann, Klaus, The Genius Decision: The Extraordinary and the Postmodern Condition, (Putnam:Spring Publications, 2004), PhD. Diss. European Graduate School, 2002 2001 Romer, Stefan, Kunstlerische Strategien des Fake: Kritik von Original und Falschung. Cologne: DuMont Grosenick, Uta (Ed.), Women Artists in the 20th and 21st Century, Cologne: Taschen Neues Museum Weimar (Ed.) Die Sammlung Paul Maenz, Band III, Zeichnungen, Aquarelle, Collagen und Verwandtes, Ostfildern-Ruit: Hatje Cantz 2000 Frohne, Ursula, ‘Das Meisterwerk und sein Double: Sturtevants Rhetorik der Reprise am Beispiel von Beuys’ La Rivoluzione Siamo Noi’, ‘Jenseits der Grenzen: Franzosische und Deutsche Kunst vom Ancien Regime bis zur Gegenwart, Thomas W.Gaehtgens zum 60, Geburtstag, Vol. 3, Dialog der Avantgarden, Cologne: DuMont, pp.271-288 1999 Ibid., Fake als Original: Ein Problem fur die Kunstkritik, Cologne: Internationaler Kunstkritiker Verband Sektion Deutschland Rosenblum, Robert, On Modern American Art, New York: Harry N.Abrams 1998 Edition Schellmann (Ed.) Sequwnces. A Collection of Prints. Munich and New York: Schellmann Meier, Cordula, Kunst und Gedachtnis: Zugange zur aktuellen Kunstrezeption im Licht digitaler Speicher, (Munich: Fink, 2002) Post Doc. Diss., Universitat Essen Neues Museum Weimar (Ed.), Die Sammlung Paul Maenz, Band I.Objekte, Blider, Installationen, Ostfildern_Ruit: Hatje Cantz 1997 Ardenne, Paul L’AgeContemorain, La creation esthetique a la fin du XXe siecle, Paris: Editions du Regard 1996 Crow, Thomas, The Rise of the Sixties: American and European Art in the Era of Dissent, London: Calmann & King Ltd Ibid., Modern Art in the Common Culture, New Haven and London: Yale University Press Le Brun, Annie (et al.), La Question du Double, Symposium, Ecole Regionale des Beaux-Arts du Mans. Le Mans 1995 Salzburger Kunsteverein (Ed.), Original Symposium, Ostfildern-Ruit: Hatje Cantz Ziesche, Angela. Skulpturen, Objekte und Installationen von Kunstlerinnen des 20, Jahrhunderts, Cologne:DuMont 1991 1970-1980-19990, Eine Avantagarde-Galerie und die Kunst unserer Zeit, Cologne: DuMont     Periodicals   Albig. Jorg-Uwe. ‘Ein Bericht von J.-U. Albig.’ Art 11 (Nov 1988), pp. 56-60 Arning, Bill. ‘Sturtevant’. Journal of Contemporary Art2,2 (1989), pp. 39-50 Amyot, Rondolphe and Eric Brucker. ‘Esprit de la mode, es-tu la?’ Vogue 790 (Sep 1998), p. 56 Bader, Jorg. ‘L’Eternel Retour des Chefs-d’Oeuvres.’ Art Press 236 (Jun 1998), pp. 31-35 Behrman, Pryle. ‘Stolen Images.’ Contemporary Visual Arts 15 (1995), pp. 24-29 Benn, Tony. ‘Certainly Thinking is a kind of Madness. Interview.’ Site 7 (2004), pp. 27-33 Besacier, Hubert. ‘Sturtevant.’ Art Factum 10, 48 (Jun- Aug 1993), pp. 2-4 Bohnen, Uli. ‘Sturtevant.’ Kunstforum International 101 (Jun 1989), pp. 383-384 Brunn, Burkhard. ‘It’s not Warhol, It’s Sturtevant.’ ART POSITION 19/20 (MAY 1992), pp.13-19 Cameron, Dan. ‘A Conversation with Leo Castelli and Elein Sturtevant.’ Flash Art 143 (Nov-Dec 1988), pp.76-77 Charbit, Hubert. ‘Reelles presences. Notes sur le travail de Sturtevant.’ Bloc Notes (Summer 1993), pp. 38-43 Davis, Douglas and Eugene Schwartz. ‘A Double Take on Sturtevant.’ File Magazine 26 (Dec 1986), pp. 2-119 Drteln, Doris von. ‘Der Dialog mit dem Gleichen. Enteignung der Appropriation.’ Kunstforum International 111 (Jan 1991), pp. 180-91 Haase, Amine. ‘Das Lebendige Museum: Das Geheimnis der Kunst.’ Kunstforum International 166 (Aug-Oct 2003), pp. 359-362 Hainley, Bruce. ‘Erase and Rewind.’ Frieze 53 (Jun-Aug 2000), pp.82-87 Ibid., ‘Best of 2002 (Special Issue).’ Artforum International 41, 4 (Dec 2002), pp. 106-130, 128 Ibid., ‘Sturtevant talks to Bruce Hainley.’ Artforum International 41, 7 (Mar 2003), pp. 246-247 Heartney, Eleanor, ‘Elain Sturtevant at Bess Culter’, Art in America 77, 3 (Mar 1989) p.150 Huck, Brigitte. ‘Das Jahrhundert der kunstlerischen Freiheit’, Eikon 24 (1998), pp.43-44 Koniger, Maribel. ‘Die Autonomie eines Systems ist erreicht, wenn es auch uberseine Negation verfugen kann, Symposium des Salzburger Kunstvereins auf der Suche nach dem Original’. Kunstforum International 125 (Jan- Feb 1994), p.419 Kother, Jutta. ‘Elain Sturtevant at Paul Maenz’. Artscrib eInternational (Sept-Oct 1989), pp.87-88 Kultermann, Udo. ‘La Peinture Americaine des Annes 80: Nouveau Depart’. Art Press 152 (Nov1990), pp.22-28 Liu, Catherine. ‘Elain Sturtevant. Bess Cutler Gallery’. Artforum International 27, 5 (Jan 1989), p. 116 Messier, Norbert. ‘Sturtevant’. Noema 24/25 (Summer 1989), pp.48-51 Merzger, Rainer. ‘Attitude und Modernitat. Aspekte des Kanonischen in der Kunst der letzten Jahrzehnte’. Kunstforum International 162 (Nov-Dec 2002), p.126 Morgan, Stuart. ‘Ceci n’est pas un Warhol’. Beaux-Arts 92 (Jul-Aug 1991), pp.54-61 Moser, Ulli. ‘Originalitatsdokumente. Die Kunstlerin Elaine Sturtevant malt Kopien grosser Zeitgenossen.’ Parnass Sonderheft 7 (1991), pp.92-93 Nanteau, Oliver ‘Elain Sturtevant: Le Realisme au Second degree’. L’Art Comtemporain (Mar 1970) Nemeczeck, Alfred. ‘Die Kunst ist gar nicht so frei’. Art (Jul 1989), p.18 Ord, Douglas. ‘Ceci n’est pas Magritte’. Canadian Art 13,4 (Winter 1996), pp. 78-80 Orlean Mathieu. ‘Renaissance’. Numero 52 (May 2004) Ottmann, Klaus. ‘Elain Sturtevant’. Flash Art 137 (Nov-Dec 1987), pp.105-106 Pricenthal, Nancy. ‘Apropos of Marcel’. Art in America 88, 1 (Jan 2000), p.112 Romer Stefan. ‘Original- Echt/ Falsch.’ Kunstforum International 147 (Sept- Nov 1999), pp.379-381 Ibid., ‘Sturevant’. Texte zur Kunst. Appropriation Now 12, 46 (Jun 2002), pp. 193-197 Salzwedel, Johannes. ‘Damo der Echtheit’. Der Spiegel 45 (6 Jun 2000), p.249 Sauerbier, S.D, ‘Kommt die Kunst von Kunst’. S.D. Sauerbier im Gesprach mit dem Kurator der Ausstellung ‘Hommage- Demontage’. Kunstforum International 97 (Nov- Dec 1998) pp.318- 335 Schmitt, Jean-Marie. ‘Les jurists enquetent sur l’art contemporain’. Le Journal des Arts 170 (2-15, May 2003), p.27 Stacovitz, Dunja. ‘Sturtevant’. Style 40 (May 2001), pp.42-47 Stech, Fabian. ‘Der Anfang vom Ende. Before the End’. Kunstformum International 170 (May- Jun 2004), pp. 340- 342 Sturtevant, Elaine. ‘Fake/Original’. Pro Literris Gazetta (2001), p.98 Ibid., ‘Fake/Original’. Copyright 1 (Jun 1999), unpaged. (no author). ‘Dillinger Running Series, Edition’. Text zur Kunst 10, 40 (Dec 2000), pp.104-105 Weingarten, Susanne. ‘Klicken im Kopf’. Der Spiegel 31 (1992), pp. 145-146 Weschler, Lawrence. ‘Onward and Upward With the Arts. Value. A Fools Questions’. The New Yorker (18 Nov 1998), pp.35-36 Wulffen, Thomas. ‘Prospect 89’. Flash Art 147 (Smmer 1989), p.155 Zahm, Oliver. ‘Sturtevant’. Artforum International 29, 9 (May 1991), pp.157-158     Newspapers   Bossis, Kathie. ‘At The Aldrich, a new perspective’. Gannett Westchester Newspaper (14 Jun 1987) Conaday, John. ‘Art Shows Worth Seeing’. The New York Times (16 Oct 1965) Dish, Thomas M. ‘Gallery Going’. The New York Sun (12 Jun 2003) Duparc, Christiane. ‘Faites-le Vous-meme’. Le Nouvel Observateur (17 March 1969) Flemming, H. Th. ‘Tod der Originalitat? Sturtevants Installationene in den Deichtorhallen’, Die Welt (18 Aug 1992) Forstbauer, Nikolai B., ‘Im Wurttembergischen Kunstverein Stuttgart: Retrospecktive der New Yorker Aneignungskuunstlerin Elaine Sturtevant’. Stuttgarter Nachrichten (8 Jul 1992) Gardener, Belinda. ‘Gefangen im Gegenuber’. Hamburger Rundschau (27 Aug 1992) Glueck, Grace. ‘Art Review’, The New York Times (22 Oct 1999) Heiser, Jorg. ‘Auratisches Toastbrot und Kunst vom Filiessband’. Suddeutsche Zeitung (23 Feb 2004) Illies, Florian. ‘Wo der Hund begraben liegt’. Frankfurter Allgemeine Zeitung (3 March 1993) Imdahl, Georg. ‘Ratsel hinter dem Vorhang’. Frankfurter Allgemeine Zeitung (5 Dec 1996) Karchee, Eva. ‘Spiegel der Utopie. Die erste Retrospektive von Elaine Sturtevant’. Suddeutsche Zeitung (28 Aug 1992) Kranz, Beate. ‘Kunstwerk oder Duplikat? Verwirrstucke von Elain Sturtevant in Stuttgart’. Mannheimer Morgen (11 Jul 1992) Ibid., ‘Blick unter die Oberflache. Elain Sturtevant- Retrospektive im Kunstverein’. Esslinger Zeitung (1 Jul 1992) Ibid., ‘Das Prinzip Verdoppelung.’ Badisches Tagblatt (27 Jun 1992) Kronthaler, Helmut. ‘Aneignung- Sturtevant Ketchup Zitat’. Kunstzeitung, 69 (Mai 2002) (No author). ‘The Art Galleries’. Los Angeles Times (16 Oct 1987) Lindbergh, Sonja. ‘Gegen die Logik des Markets’. Die Welt (11 Dec 1999) Preuss, Evelyn. ‘Elaine Sturtevant in Hamburg. Kopien die keine sein wollen’. Kieler Nachrichten (21 Aug 1992) Rainer, Wolfgang. ‘Das Original Mal Zwei. Die Amerikanerin Elaine Sturtevant im Wurttembergischen Kunstverein Stuttgart’. Stuttgarter Zeitung (26 Jun 1992) Raynor, Vivan. ‘Art in Ridgefield Connecticut, A Post-Abstract Show’. The New York Times (26 Jun 1987) Ruthe, Ingeborg. ‘Angriff auf die Aura’. Berliner Zeitung (8 Mar 2002) Ibid., ‘Grunes Ketchup. Elaine Sturtevant mit ‘geklonten’ Werbe-Images im Neuen Berliner Kunstverein’. Berliner Zeitung (12 Mar 2002) Schoen, Wolf. ‘Die Kopie ist das Original: Elaine Sturtevant, die Mutter der Appropriation Art in Stuttgart’. Rheinischer Merkur (10 Jul 1992) Smith, Roberta. ‘Elaine Sturtevant’. The New York Times (6 Nov 1987) Sonna, Birgit. ‘Sturtevant’. Suddeutsche Zeitung (19 Feb 1997) Stemmel, Kerstin. ‘Schone Neue Welt’. Neue Zuricher Zeitung (21 Jun 2001) Vielhaber, Christiane. ‘Wanderpokal. Bremen hat die Originale’. Kunstzeitung (Aug 1999) Wulffen, Thomas. ‘Nocheinmal mit Hintersinn. Elaine Sturtevant im Wurteembergischen Kunstverein Stuttgart’. Der Tagesspiegel (17 Jul 1992) Ibid., ‘Der Verlust des Gleichgewichts’. Frankfurter Allgemeine Zeitung (27 Apr 2002) Wurster, Reinhold. ‘Ein Warhol, der kein Warhol ist’. Schwabische Post (18 Jul 1992) Zimmer, William. ‘Post-Abstract Abstraction in Ridgefield’. The New York Times (5 Jul 1987)     Selected Bibliography 2003 Harrison, Rachel. “Sturtevant talks to Bruce Hainley – ‘80s Then – Interview,” Artforum, Mar 2003. 2002 Kronthaler, Helmut. “Aneignung-Sturtevant Ketchup-Zitat,” Kunstzeitung, Nr.69, May. Wulfen, Thomas. “Der Verlush des Gleichgewichts” Frankfurter Allgemeine Zeitung, Apr 24. Grünes, Katchup. “Feuilleton,” Berliner Zeitung number 60, Mar 12. von Ingeborg, Ruthe. “Angriff auf die Aura,” Berliner Zeitung Kunst, Mar 8. Whitneven, Katrin. “Es grünt so grün, wo tausend dollar blühn,”Der Tagesspiegel. 2001 “Sturtevant,” Style, n. 040, May. “Freier Wettbewerb,” Tagespielel Berlin, Mar 21. “Kunst und Markt,” Tagespiegel, Mar 21. “Fake Sturtevant Proliterris, Zurich, N. 1 – 2001 Original” ZDF. TV emission 2000 Texte Zur Kunst, Dec. Site, n° 5, Oct. Hainley, Bruce. “Erase and Rewind,” Frieze, issue 53, Jun-Aug. Frohne, Ursula. “Sturtevant Rhetorik der Reprise am Beispiel von Beuys La Revoluzione Siamo Noi,” Jenseits der Grenzen, Bano III, Dialog der Avantgarden, DuMont, Köln. 1999 Kramer, H. “A Critic’s View,” The New York Times, Oct 30. Glueck, G. “Art Review,” The New York Times, Oct 22. Römer, Stefan. Original – Echt/Falsch, Kunstforum International, Sep-Nov. De Jaeger, C. “Le métalanguage d’Elaine Sturtevant,” Luxemburger Wort, Aug 5. “De l’originalité de l’oeuvre,” Exposition Sturtevant au Casino. Tageblatt Jul 30. Nordwes- Zeitung, Kultur, Jul 27. 1225 Objecten van de Amerikaan se Kopiiste Sturtevant en 23 Faiseurs d’histories. De Morgan, Jul 23. SITE n° 2, Apr. Romer, S. “Fake/als Original,” AICA, Internationaler Kunstkritiker verbaral, Köln. Sturtevant. “Fake/Original,” COPYRIGHT n° 1 Berlin “Konigan van het plagiat in Casino Luxembourg” Der Spiegel, Szene, 30/1999 1998 Bader, Jorg. “L’Eternel Retour des Chefs-d’Oeuvres,” Art Press, #236, Jun. Editions du Regard, Paul Ardenne “L’Âge Contemporain” 1997 “Who’s Who in American Art” 22nd Edition Behrman, Pryle. “Stolen Images,” Contemporary Visual Arts, Issue 15. 1996 “Verliere dich” Der Spiegel Nr. 21/20. May. Der Spiegel, Nr. 20/20, May. Lamarche-Videl, Le Brun Annie, Stephan Lucien, Sturtevant, Verschaffez, “La Question du Double,” Ecole des Beaux-Arts, Le Mans. Vine, Richard. “Louisiana Techno-Rave,” Art in America. 1994 “Sturtevant Duchamp Nu Descendant un Escalier 1968,” ZAPP Magazine, Video n° 3, Nov. Isola, Marina. “Mirror Image,” TheMet, Nov 3. Fargier, Jean-Paul. “Duchamp Corse,” Le Monde, Jul 18. 1993 Saltz, Jerry. “Critics Diary,” Art in America, Sep. “Anaturm der Doppelganger,” Der Spiegel, 27/1993 Besacier, Hubert. “Sturtevant” Arte Factum, 48/93 Hubert Charbit, Bloc Notes, été. 1992 Leturcq, Armelle. “Elaine Sturtevant,” ART+TEXT, n° 43, Sep. Karcher, Eva. “Spiegel der Utopia,” Suddentsche Zeitung, n° 198, Aug 28. Burkhard, Brunn. “It’s not Warhol, it’s Sturtevant,” ART POSITION, n° 19/20, May/Aug. Rainer, Wolfgant. “Das Original Mal Zwei,” Stuttgart Zeitung, 26 VI. Weingarten, Susanne. “Klicken Im Kopf,” Der Spiegel, 31. 1991 Zahm, Olivier. Artforum, May. Le Foll, Joséphine. Maison Française, Mar. Von Draten, Doris. “Der Dialog mit dem Gleichen,” Kunstforum, Jan/Feb. 1990 Kultermann, Udo. “La peinture américaine des années 80: Nouveau depart,” Art Press, Nov. Faust, Gretchen. Arts Magazine, Mar. Leigh, Christian. “The New (& Improved) Good Old Days,” Bijutsu Techno, Mar, vol. 42, no. 621. Bauth, Reinhard. “Neues Aus Der New Yorker Szene,” Magazine München, Jan. 1989 Schwendenwien, Jude. Contemporanea, Oct. Nemeczeck, Alfred. “Die Kunst Ist Gar Nicht So Frei,” Art, Jul. Leigh, Christian. “Opening Night at the Whitney Biennial,” Contemporanea, Jul. Bohnen, Uli. Kunstforum, Jun. Wullten, Thomas. Flash Art. Jun. Messler, Norbert. “Sturtevant,” Noema, n° 24/25, Summer. Leigh, Christian. “Into the Blue,” Art & Auction, May. Groys, Boris. “Verzicht auf den Mythos,” Frankfurter Allegemeine Zeitung, n° 93, Apr. Bohnen, Uli. Kunst, Apr. “Wolkenkratzer,” Art Journal, Mar/Apr. Kipphoff, Petra. “Die Post Kommt immer zu Spät,” Die Zeit, n° 14, Mar. Koether, Jutta. “Elaine Sturtevant at Bess Culter,” Art in America, Mar. “Art Wheel of Fortune,” Avenue, Feb. Liu, Catherine. Artforum, Jan. Stals, Jose Lebrero. Lapiz, n° 59. Sturtevant, Elaine. “Artist’s Pages by Sturtevant,” Museum Journal, Jaargang 34 2/3. Aming, Bill. “Sturtevant,” Journal of Contemporary Art. 1988 Bohnen, Uli. “Kommt Die Kunst von Kunst,” Kunstforum, Nov/Dec, p. 341. Cameron, Dan. “A Conversation with Leo Castelli and Elaine Sturtevant,” Flash Art, n° 143, Nov/Dec. Levin, Kim. The Village Voice, n° 46, Nov 15. Albig, Jorg-Uwe. “Erlich sind nur diie Kopisten,” Art, n° 51, p. 28. Art, n° 11, Nov, p. 54. Selwyn, Marc. “Los Angeles,” Art & Auction, Sep. Hentschel, Martin. “Homage-Demontage,” Nike-New Art in Europe, Jul-Sep, p. 35. Hahn, Christophe von. “Zynisms in der Kunst,” Aschener Nachrichten, Mar 25. Peters, Louis. “Im zeitniterr der kopien und kopisyen,” Atelier, Mar/Apr, pp 12-14. Siachy, Ingrid. Thomas McEvilley, Lucas Samaras. “About this Issue: A Project for Artforum,” Artforum, Feb. Weschler, Lawrence. “Onward and Upward with the Arts. Value. A Fools Questions,” The New Yorker, Jan 18, pp 35-56. Linker, Kate. Artforum, Jan. Morgan, Robert C. Arts Magazine, Jan. 1987 Levin, Kim. The Village Voice. Nov 10. Smith, Roberta. The New York Times, Nov 6. “The Art Galleries,” Los Angeles Times, Oct 16. Larson, Kay. “Comedy of Mannerism,” New York, Aug 24. Zimmer, William. “Post-Abstract Abstraction in Ridgefield,” TheNew York Times, Jul 5. Raynor, Vivan. “Art in Ridgefield Connecticut, A Post Abstract Show,” The New York Times, Jun 26. Bosis, Kathie. “At the Aldrich, a new perspective,” Gannett Westchester Newspapers, Jun 14. 1986 Indiana, Gary. The Village Voice, Feb 12. Davis, Douglas and Eugene Schwartz. “A Double Take on Sturtevant,” File Magazine, Dec. Westfall, Stephen. “Elaine Sturtevant,” Art in America, Oct. 1978 Bell, Jane. “On Sturtevant”, Contemporary Artists, St. Martin’s Press, New York. 1974 Frank, Peter. “On Art,” SoHo Weekly News, Mar 14. Davis, Douglas. “Country Art and City Art,” Newsweek, Mar 11. Perrault, John. “Crisco Chair on a Coattail Ride,” The Village Voice, Mar. 1970 Nanteau, Oliver. “Elaine Sturtevant: Le Réalism Au Second Degré,” L’Art Contemporain, Mar. 1969 Picard, Lil. “From ABC to Camp Art,” Das Kunstwerk, Nov/Dec. Restant, Pierre. “Paris: Crise et Critique de Langage,” Domus, Jun. Counoll, Lacoste, M. “Mai un Après Mai,” Le Monde, May 15. Hahn, Otto. “Expositions Otto Hahn A Vous,” L’Express, Mar 24. Duparc, Christiane. “Faites-le Vous-même,” Le Nouvel Observateur, Mar 17. “Art For Art’s Sake,” Time, Feb 28. 1967 Tono, Yoshiaki. “Elaine Sturtevant,” Bijutsu Techno, vol. 282, n°5. 1965 Picard, Lil. “Camp oder Die nimmermüde Phantasie,” Die Welt, Dec 9. Conaday, John. “Art Shows Worth Seeing,” The New York Times, Oct 16.     Catalogues   The Brutal Truth, Museum fur Moderne Kunst, Frankfurt am Main, 2004 Museum für Moderne Kunst, Frankfurt am Main, 2003. Ishtar, St. Paul, MN: Midway Contemporary Art, 2003. Sturtevant, Munich: Daniel Blau, 2003. The Dark Threat of Absence, Paris/Salzburg: Galerie Thaddaeus Ropac, 2003. Hainley, Bruce and John Waters. Art Works: Sex. London: Thames & Hudson Ltd., 2002. Shifting Mental Structures. Stuttgart: Cantz, 2002. Minimalism and After. Berlin: Sammlung Daimler Chrysler, 2002. Min Marilyn. Stolkholm: Liljevalchs Konsthall, 2002. Private/Corporate. Berlin: Daimler Chrysler, Berlin, 2002. Ornement et Abstraction. Cologne: DuMont and Basel: Foundation Beyeler, 2001. Trade.Winterthur: Winterthur Foto Museum, 2001. Women Artists. Cologne: Taschen, 2001. Protest & Survive. Whitechapel Art Gallery, London, Manchester: Cornerhouse Publication, 2000. Les 100 Sourires de Mona Lisa. Tokyo: Nihon Keizai Shinbun, Inc., 2000. Kunst Sammeln, Karlsruhe, ZKM Museum für Neue Kunst, 1999. Rosenblum, R. On Modern American Art. New York: Harry N. Abrams, Inc., 1999. ART, 20 years anniversary ART. Hamburg: Gruner & Jahr AG&CD, 1999. Sturtevant. Fake/Original, Bremen: Neues Museum Weserburg, 1999. International Avant-garde Since 1960: The Paul Maenz Collection. (Sturtevant Vol. 1 and 11). Weimar: Neues Museum, 1998. Sturtevant: Int./Ext. Visibilities, Paris/Salzburg: Galerie Thaddaeus Ropac, 1998. Sequences A Collection of Prints. Munich: Edition Schellmann, 1998. Shift. Berlin: NGBK (Hg), 1996. Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent. London: Calmann & King Ltd., 1996. Cottingham, Laura. Now/Here, Humblebaeck, LA: Louisiana Museum of Modern Art, 1996. Fleck, Robert. La Criée. Rennes: Criée Centre d’Art, Rennes, 1996. Cueff, Alain, Didier Ottinger, Pierre Stercks, Sturtevant, Verschaffez. Magritte, les exercises Spirituels, Münich: Prestel-Verlag, 1996. Perrin, Frank. Collection collective, La Question du double, Montreal: Musée des Beaux-Arts, 1996. Eiblmayr, Sylvia and Robert Fleck. Original. Verlag: Cantz, 1995. Ziesche, Angela. Skulpturen, Objeke und Installationen von Kunstler innen de 20 Jahrbusderts. Buchverlag, Cologne: DuMont, 1995. Sturtevant. Württembergischer Kunstberein Stuttgart/Deichtorhallen, Hamburg / Centre National d’Art Contemporian, Villa Arson, Nice, 1992. Zdenek, Felix & Messler Norbert. Denk Bilder. Verlag: Hirmer, 1991. De Vries Gerd. (ed.) Paul Maenz Köln, An Avant-Garde Gallery and the Art Of Our Time. Buchverlag, Cologne: DuMont, 1991. Galerie Thaddaeus Ropac, Paris, 1991. Aspects de l’Art du XXéme siécle. Meymac: Abbaye Saint Andre, 1991. Objects for the Ideal Home London: Serpentine Gallery, 1991. (Art)_. Fullerton, CA: California State University, 1991. Sturtevant. Chicago: Rhona Hoffman Gallery, 1990. Leigh, Christian. New Good Old Days. Cologne: Galerie Paul Maenz, 1989. Sturtevant: Works from 25 Years. Cologne: Galerie Paul Maenz, 1989 Sturtevant.Munich: Galerie Six Friedrich, 1989. D & S Ausstellung. Hamburg: Kunstverein, 1989. Leigh, Christian. The Silent Baroque. Salzburg: Galerie Thaddaeus Ropac, 1989. Bilderstreit: 56 Kölner Galerien. Cologne, 1989. PROSPECT 89. Frankfurt am Main: Frankfurter Kunstverein, 1989. Vraiment Faux. Paris: Foundation Cartier, 1988. Sturtevant: Drawings 1988 – 1965. New York: Bess Cutler Gallery, 1988. Leigh, Christian. Complexity & Contradiction. New York: Scott Hanson Gallery, 1988. Hommage-Demontage. Aachen: Neue Galerie – Sammlung Ludwig, 1988. Sturtevant 1987. New York: Stux Gallery, 1987. A Different Corner. Definition and Redefinition. Painting in America. Cuenca, Equador: Museo de Arte Moderno, 1987. Schwartz, Eugene. Post-Abstract Abstraction. Ridgefield, CT: Aldridge Museum of Contemporary Art, 1987. Ferrer, Elizabeth and John Paoletti. The Art of Appropriation. New York: Alternative Museum, 1986. Harithas, James. Sturtevant. Syracuse, New York: Everson Museum, 1973. Beuys Actions, Objects and Drawings. New York: Reese Palley Gallery, 1971.     Public Collections   Vienna Secession DIAMCO Geneva Weimar Neues Museum MOCA Los Angeles ARC Paris Stedelijk Museum Amsterdam Staatsgalerie Stuttgart ZKM Karlsruhe FIAC Paris FRAC Bretagne       close window