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December 15, 2011
Artist, Critic, Canon: Critical Approaches to Art History, After Levine 

Zoe Leonard, David Joselit, and Elisabeth Sussman discuss critical approaches to art history after the influence of artists like Sherrie Levine. Photograph by Tiffany Oelfke
Zoe Leonard, David Joselit, and Elisabeth Sussman discuss critical approaches to art history after the influence of artists like Sherrie Levine. Photograph by Tiffany Oelfke
From left, Zoe Leonard, David Joselit, and Elisabeth Sussman. Photograph by Tiffany Oelfke
From left, Zoe Leonard, David Joselit, and Elisabeth Sussman. Photograph by Tiffany Oelfke
Zoe Leonard, David Joselit, and Elisabeth Sussman. Photograph by Tiffany Oelfke
Zoe Leonard, David Joselit, and Elisabeth Sussman. Photograph by Tiffany Oelfke

Sherrie Levine stands at the forefront of a group of artists, such as Cindy Sherman, Richard Prince, and Barbara Kruger, whose work has altered the way we distribute, perceive, and study representational images. In conjunction with SHERRIE LEVINE: MAYHEM, a panel of scholars and artists, including David Joselit, Zoe Leonard, and Elisabeth Sussman, explore how Levine and other artists have generated discourse on authorship, originality, and reproduction, and in turn, instigated new critical approaches to the art historical canon. This conversation investigates significant shifts in contemporary art practice and theory since the 1970s, and how these shifts influenced a generation of artists for whom the impulse of borrowing, reframing, and reproducing imagery is fundamental.