著者

鉢呂 光恵 Mitsue HACHIRO 藤女子大学人間生活学部保育学科

出版者

藤女子大学

雑誌

藤女子大学紀要. 第2部 (ISSN:13461389)

巻号頁・発行日

vol.49, pp.185-193, 2012-03-31

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Sherrie Levine is one of the most well-known postmodernism artists in the United States. In 1981, Levine rephotographed the photos of "Allie Mae Burroughs" (1936) by Walker Evans. This work, "After Walker Evans" (1981) brings out the "difference" of 45 years as presented by the "differences" in images between Evans's photographs and her own. Reproduction techniques were widespread in the 1980s, and Levine turned her cool gaze on the "real" world to produce simulation works that instantly change like a television screen. This "After Walker Evans" series drew considerable attention from critics. Through her works, Levine has added another aspect to the diversity of Contemporary art.

著者

鉢呂 光恵 Mitsue HACHIRO 藤女子大学人間生活学部保育学科

巻号頁・発行日

vol.49, pp.185-193, 2012-03-31

---

Sherrie Levine is one of the most well-known postmodernism artists in the United States. In 1981, Levine rephotographed the photos of "Allie Mae Burroughs" (1936) by Walker Evans. This work, "After Walker Evans" (1981) brings out the "difference" of 45 years as presented by the "differences" in images between Evans's photographs and her own. Reproduction techniques were widespread in the 1980s, and Levine turned her cool gaze on the "real" world to produce simulation works that instantly change like a television screen. This "After Walker Evans" series drew considerable attention from critics. Through her works, Levine has added another aspect to the diversity of Contemporary art.

著者

鉢呂 光恵

出版者

藤女子大学

雑誌

藤女子大学人間生活学部紀要 = The bulletin of the Faculty of Human Life Sciences, Fuji Women's University (ISSN:21874689)

巻号頁・発行日

no.55, pp.137-145, 2018-03-31

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Sherrie Levine (1947- ) is a contemporary artist who was active in advocatingpostmodernism, a movement that dates from the America of the 1980s.Levine created new images by appropriating photos of people, from a series titledOthers, that had been taken by Walker Evans (1903-1973), a prominent photographer of modern times. Her artistic technique gained considerable attention from critics. In her work, she rephotographed, through her own imagination, the people in the existingphotos, focusing on their gaze, a gaze that was lost in modern times and was differentfrom a camera-conscious gaze. Through the production of simulated art or appropriated art, she attempted to examine and elucidate how photographic subjects were introduced and socially positioned by the mass media and by photography appreciators.Her stance on art underlay her attempts to use postmodernist photography toreconsider, from an artistic standpoint, how modernization had caused various things inAmerican society to become replaced.Levine attempted to pursue visual possibilities. Based on an essay by HowardSingerman that intricately discusses the “gaze” of people shot by Levine who showed aspecific interest in watching, this thesis highlights four items.1) The composition of photos taken from this postmodernist perspective2) The “gaze” of people shot by Levine in some photos (multiple lines of sight)3) “Appropriation” (artistic techniques adopted by Levine)4) New attempts made by Levine

著者

鉢呂 光恵

出版者

藤女子大学

雑誌

藤女子大学人間生活学部紀要 = The bulletin of the Faculty of Human Life Sciences, Fuji Women's University (ISSN:21874689)

巻号頁・発行日

no.54, pp.137-146, 2017

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Sherrie Levine is an artist representing American postmodernism. In 1981,shetransformed a historic photograph,which was taken in 1936 by prominent photographerWalker Evans,Allie Mae Burroughs,the wife of a tenant farmer affected by theglobal depression,into a simulation art created based on the duplication technologythat was popular in America in the 1980s. Through interactive perspectives of AllieMae Burroughs, this paper highlights the fact that this production by Levine invitesspectators to evoke a new interpretation exceeding the creator’s intentions.

著者

鉢呂 光恵 Mitsue HACHIRO 藤女子大学人間生活学部保育学科非常勤講師

巻号頁・発行日

vol.50, pp.129-138, 2013-03-31

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In 1981, Sherrie Levine rephotographed the reproduced photos of "Allie Mae Burroughs" (1936) by Walker Evans. This work, "After Walker Evans" (1981), drew considerable attention from critics. This work by Levine attempted to meditate on the developing reproduction techniques' influence on art, and her work can be called unique with regard to the following two points. 1) Levine's work is not merely a reproduction of the original artwork but her own photography that is different from the original, and intended to present viewers with a difference between the original and her own, bringing out the contrast between the two and setting a new perspective. 2) The grainy simulation image of her works do not only turn a cool gaze on but also forms the index to the 1980's.