Beschreibung:

(Elaine) Sturtevant Johns Green Target 1986 - 1987 Encaustic and paper collage on canvas. 36 x 36 in. (91.4 x 91.4 cm). Signed, titled and dated “Johns Green Target Sturtevant 1986/87” on the reverse.
Provenance Acquired directly from the artist; Collection Eugene and Barbara Schwartz New York; Curt Marcus Gallery, New York; Private collection, United States Exhibited Ridgefield, Connecticut, Aldrich Museum of Contemporary Art, Post-Abstract Abstraction, 1987; New York, Stux Gallery, 1993; New York, Dickinson Roundell Inc, Aftershock: the legacy of the readymade in Post-War and Contemporary American Art, May 5 – June 20, 2003; Saratoga Springs, Tang Museum, About Painting, 2004 Literature T. Ostervold, ed., Sturtevant, Stuttgart, 1992, p. 78 (illustrated); T. Girst and F. Naumann, Aftershock: the legacy of the readymade in Post-War and Contemporary American Art, New York, 2003, cat. no. 29, pp. 70-71 (illustrated); T. M. Disch, “Gallery Going”, The New York Sun, December 6, 2003, p. 14; L. Maculan, ed., Sturtevant Catalogue Raisonné Gemälde Skulptur Film und Video, Frankfurt / Ostfildern-Ruit, 2004, cat. no. 27, p. 51 (illustrated) Catalogue Essay Elaine Sturtevant made history by selectively copying through exact articulation and spirit the art of her Pop Art contemporaries. In many ways she acted as progenitor for the artistic practice of appropriation, in essence an extension of the Pop Art movement itself, made popular in the 1980s during her career and beyond. In an interview with Leo Castelli, her dealer and great admirer during this period, Sturtevant and Castelli expound: Leo Castelli: “Why did she do it? How did this idea occur to her. It was really at the time an incredibly original idea. It was quite amazing; although now you are used to it. At the time when she appeared we were also used to the fact that artists like Marcel Duchamp for instance, did very extravagant things. I think that some of this spirit was communicated, God knows how, to our friend who sits here [Sturtevant], and that she then proceeded to try to do paintings by Jasper, or others. I think it was as faithfully as you could do it?” Elaine Sturtevant “Yes, as close as I could. As exactly as possible.” L.C.: “So that they would be really, if you didn’t know, if you looked at them as close as possible, that this was a work by Oldenburg or Jasper Johns or Andy Warhol ” (D. Cameron “A Conversation: A Salon History of Appropriation with Leo Castelli and E laine Sturtevant”, Flash Art, no. 143, November – December, 1988, p. 76). Read More