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An illustrated examination of a work—a Warhol that isn't by Warhol—that embodies a shift in attitudes about artistic authorship and originality. Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930–2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol's own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, “I don't know. Ask Elaine.”) In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn's author, and explains that mistaken identity is part of Sturtevant's intention for the operation of the work. She discusses the ways that Sturtevant's methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber's shooting a bullet through a stack of Warhol's Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant's decision to remake the work. Lee writes that Sturtevant's critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges's “Pierre Menard, Author of the Quixote,” who recreates a section of Cervantes's masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant's work as illuminating her broader artistic aims and principles.
Summary of Hilary Kinavey & Dana Sturtevant's Reclaiming Body Trust by Everest Media, Pdf
Please note: This is a companion version & not the original book. Sample Book Insights: #1 Don’t forget to take note of the cultural roots of your ideas about your value and worthiness. #2 When we are born into this world, we are not aware of gender norms or racism. As we grow, our socialization begins, and we are exposed to the ways the culture and the people around us categorize whose bodies matter and whose don’t. #3 We are all embedded in social systems that value and legitimize certain presentations over others, and these systems impact the ways we feel at home in our bodies. #4 We need to teach ourselves to trust our bodies and stop trying to control things we cannot control. We need to teach ourselves that the body is not an enemy, but a friend that needs to be listened to and respected.
Sturtevant by Patricia Lee (Writer on contemporary art) Pdf
An illustrated examination of a work--a Warhol that isn''t by Warhol--that embodies a shift in attitudes about artistic authorship and originality. Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930-2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol''s own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, "I don''t know. Ask Elaine.") In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn''s author, and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.
Author : Amy S. Kaufman,Paul B. Sturtevant Publisher : University of Toronto Press Page : 207 pages File Size : 51,9 Mb Release : 2020 Category : History ISBN : 9781487587840
The Middle Ages in Popular Imagination by Paul B. Sturtevant Pdf
It is often assumed that those outside of academia know very little about the Middle Ages. But the truth is not so simple. Non-specialists in fact learn a great deal from the myriad medievalisms - post-medieval imaginings of the medieval world - that pervade our everyday culture. These, like Lord of the Rings or Game of Thrones, offer compelling, if not necessarily accurate, visions of the medieval world. And more, they have an impact on the popular imagination, particularly since there are new medievalisms constantly being developed, synthesised and remade. But what does the public really know? How do the conflicting medievalisms they consume contribute to their knowledge? And why is this important? In this book, the first evidence-based exploration of the wider public's understanding of the Middle Ages, Paul B. Sturtevant adapts sociological methods to answer these important questions. Based on extensive focus groups, the book details the ways - both formal and informal - that people learn about the medieval past and the many other ways that this informs, and even distorts, our present. In the process, Sturtevant also sheds light, in more general terms, onto the ways non-specialists learn about the past, and why understanding this is so important. The Middle Ages in Popular Imagination will be of interest to anyone working on medieval studies, medievalism, memory studies, medieval film studies, informal learning or public history.
Author : Robert E. Kohler Publisher : University of Chicago Press Page : 337 pages File Size : 41,7 Mb Release : 1994-05-02 Category : Science ISBN : 9780226450636
"One of the most productive of all laboratory animals, Drosophila has been a key tool in genetics research for nearly a century. At the center of Drosophila culture from 1910 to 1940 was the school of Thomas Hunt Morgan and his students Alfred Sturtevant and Calvin Bridges, who, by inbreeding fruit flies, created a model laboratory creature - the 'standard' fly. By examining the material culture and working customs of Morgan's research group, [the author] brings to light essential features of the practice of experimental science. [This book] takes a broad view of experimental work, ranging from how the fly was introducted into the laboratory and how it was physically redesigned for use in genetic mapping, to how the 'Drosophilists' organized an international network for exchanging fly stocks that spread their practices around the world"--Back cover.
Samuel Sturtevant (1618/1624-1669) immigrated during or before 1639/ 1640 to Plymouth, Massachusetts, probably from England and possibly from Rochester, Kent County. He married Ann (Anna, Hannah) Lee (?) about 1644. Descendants and relatives lived in New England, New York, Pennsylvania, Ohio, Wisconsin, Missouri, California and elsewhere.
