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MLTPL | Better Than One
Hamburg
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Sturtevant
(
American
, 1924–2014)
Sturtevant
Duchamp Triptych,
1998
Price on Request
Biography
Exhibitions
Literature
Exhibitions
2012 - 2013
Image over Image, Moderna Museet in Stockholm, Sweden (17 March–26 August 2012) / Kunsthalle Zürich, Switzerland (17 November 2012–20 January 2013) (solo)
2009
Danish and Nordic Pavilions, Venice Biennale, Venice, Italy
2008
Le Consortium, Dijon, France
Vertical Monad, Anthony Reynolds Gallery, London (solo)
Inventing Marcel Duchamp: The Dynamics of Portraiture, Smithsonian Institution, National Portrait Gallery, Washington DC
Exposing Flesh, III CCS BARD, New York
2007
Higher Power, Galerie Thaddaeus Ropac, Paris, France (solo)
2006
Cold Fear, Anthony Reynolds Gallery, London (solo)
Sturtevant, Dillinger Running Series, Site Galerie, Düsseldorf (solo)
Whitney Biennial, ‘Day for Night’, Whitney Museum of American Art, New York
Wrong, Galerie Klosterfelde, Berlin
MMK Frankfurt
Grand Palais, Paris
Galerie Mezzanin, Vienna
Superstars, Von Warhol Bis Madonna, Kunsthalle, Wien
2005
The Brutal Truth, MIT List Visual Arts Center, Cambridge, Massachusetts (solo)
PUSH AND SHOVE, Perry Rubenstein Gallery, New York, NY (solo)
2004
The Brutal Truth, Museum für Moderne Kunst, Frankfurt am Main, Germany (solo)
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
The DaimlerChrysler Collection, Museum fur Neue Kunst, ZKM, Karlsruhe
Un Tableau dans le décor, Peintures 1970-2000, Musee du Chateaux des Duncs de Bretagne, Nantes
Re-Produktion 2, Georg Kargi Fine Arts, Vienna
Living with Duchamp, Tang Museum, Saratoga Springs, NY
Site, Düsseldorf, Germany
Influence, Anxiety and Gratitude, List Visual Arts Center, Cambridge, MA
Contemporary Art, St. Paul, MN
Frac, Limoges, France
Musée d’Art Contemporain, Bordeaux, France
Das lebendige Museum, Museum für Moderne Kunst, Frankfurt am Main, Germany
Aftersock, Dickinson Roundell, New York
Galerie Mezzanin, Vienna, Austria (solo)
The Sixties. Lichtenstein, Warhol, Wesselmann, Rosenquist, Galerie Daniel Blau, Munich (solo)
2003
Dark Threat of Absence, Galerie Thaddaeus Ropac, Paris, France (solo)
University of Sunderland, Sunderland, United Kingdom
Vivement 2002!, ciinquieme 20002, sixieme episode, MANCO, Geneva
Vivement 2002!, ciinquieme 20002, cinquieme episode, MANCO, Geneva
The Private Pary, Vivement 2002!, quatrieme episode, MAMCO, Geneva
Repertoire Ce qu;il te plait 2, MAMCO, Genava
Private/Corporate: A Dialogue, Haus Huth, Berlin, Germany
Min Marilyn, Lijevalchs Konsthall Stockholm, Sweden
Iconoclash, ZKM Karlsruhe, Germany
Minimalism and After, Sammlung Daimler Chrysler, Berlin, Germany
Art After Art, Neues Museum Weserburg Bremen, Germany
Nederlande Foto Institut, Rotterdam, Netherlands
Pace/Macgill Gallery, New York, NY
Paris Photo, Paris, France
Galerie Mezzanin, Vienna, Austria
I Love Arlette, Galerie Thaddaeus Ropac, Paris, France (solo)
Sturtevant. Works on Paper 1965/66/69, Galerie Daniel Blau, Munich, Germany (solo)
2002
ShiftingMental Structures, Neuer Berliner Kunstverein, Berlin, Germany (solo)
Manifeste oder Egriffifenheir- Was ist das, Galerie Daniel Blau, Munich, Germany
Galerie Mezzanin, Vienna, Austria
Domaine de Kerguehennec, Centre d’art contemporain, Bigan
La Bretagne collectionne l’at de notre temps, les 20 ans du FRAC Bretagne: Melanges,
Frac Bretagne, La Bretagne Collectionne, Bretagne, France
Georg Kargl Fine Arts, Vienna
Ornament und Abstraktion, Foundation Beyeler, Basel, Switzerland
Trade- Warren, Wege und Werte im Welthandel, Winterthur Foto Museum, Winterthur, Germany
Ca va aller, Galerie Hans Mayer, Berlin, Germany (solo)
2001
Dillinger Runing Series, Galerie Thaddaeus Ropac, Paris, France (solo)
Candice Breitz, Claude Closky, Elaine Sturtevant, Martin Walde, Erwin Wurm, Gallery Galerie Mezzanin, Vienna, Austria
Copy without Origins: Self as Disappearence, Ecole Regionale des Beaux-Arts de Nantes (solo)
2000
Copy Right/Copy Wrong, Ecole des Beaux-Arts de Nantes, France
Les 100 sourires de Mona Lisa, Tokyo, Japan
Protest and Survive, Whitechapel Gallery, London, UK
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Literature
2012
Sturtevant. Image over Image contains numerous images and texts by Daniel Birnbaum, Bruce Hainley, Fredrik Liew, Paul McCarthy, Stéphanie Moisdon, Beatrix Ruf and the artist, produced in cooperation with Moderna Museet, published by JRP|Ringier
2008
Rebecca Geldard, ‘Sturtevant’, Time Out London, 19-25 June
Belinda Bowring, ‘Sturtevant: On Art and Its Time’, ‘Sturtevant in Conversation with Bruce Hainley’, Afterall, 18, Summer
2007
Daniel Baumann, “Sturtevant Reversal”, Spike 13, Autumn
Sturtevant, Elaine. Inherent Vice or Vice Versa, Tate Papers, Autumn
2006
Colin Gleadell, ‘Cash flows for young blood’. The Daily Telegraph , 20 June
Gerhard Mack, ‘Vom Duft der grossen Dekadenz’. ZZM am Sonntag, 18 June
Bruce Hainley, “Stutervant”, Frog, Autumn, pp. 28-31
Herbert, Martin. ‘Sturtevant”, Time Out, 28 June- 5 July
“Sturtevant debuts in London at 75”, The Saatchi Gallery Daily Magazine, June 5, online:http://blogon.saatchi-gallery.co.uk
Orlean Mathieu. ‘Renaissance’. Numero 52, May
Bruce Hainley, 'Sturtevant', Artforum, 30 Jan 2005, pp. 177-178
2005
Michael Lobel, ‘Sturtevant:Appropriation’, Parkett, Issue 75, pp. 148-153
PUSH AND SHOVE, New York: Perry Rubenstein Gallery, New York
2004
Tony Benn. ‘Certainly Thinking is a kind of Madness. Interview’, Site 7, pp. 27-33
Fabian Stech, ‘Der Anfang vom Ende. Before the End’. Kunstformum International 170, May- Jun, pp. 340- 342
The Brutal Truth, Museum fur Moderne Kunst, Frankfurt am Main
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
Ibid., ‘Zeitlichkeit Interferenzen im Werk Elaine Sturtevants’ Momente im Prozess. Zeitlichkeit kunstlerrischer Produktion, Ed. Karin Gludovatz und Martin Peschken, Berlin: Reimer
Jorg Heiser, ‘Auratisches Toastbrot und Kunst vom Filiessband’. Suddeutsche Zeitung, 23 February
International 166, Aug-Oct, pp. 359-362
Bruce Hainley, ‘Sturtevant talks to Bruce Hainley’, Artforum International 41, 7, March, pp. 246-247
Amine Haase, ‘Das Lebendige Museum: Das Geheimnis der Kunst’, Kunstforum
Jean-Marie Schmitt, ‘Les jurists enquetent sur l’art contemporain’, Le Journal des Arts 170,2-15, May, p.27
Then – Interview,” Artforum, March
Rachel Harrison, “Sturtevant talks to Bruce Hainley – ‘80s
Thresors Publics, 20 ans de creation dans les fonds regionaux d’art contemporain, Edition Flammarion: Paris
2003
Thomas M Dish, ‘Gallery Going’. The New York Sun, 12 June 2003
The DaimlerChrysler Collection, Museum fur Neue Kunst, ZKM, Karlsruhe
The Sixties, Lichtenstein, Warhol, Wesselmann, Rosenquist, Galerie Daniel Blau, Munich
Buskirk, Martha. The Contingent Objects of Contemporary Art, Cambridge: MIT Press
Ibid., ‘Grunes Ketchup. Elaine Sturtevant mit ‘geklonten’ Werbe-Images im Neuen Berliner Kunstverein’. Berliner Zeitung, 12 March
Helmut Kronthaler, ‘Aneignung- Sturtevant Ketchup Zitat’. Kunstzeitung, 69, Mai Ibid., ‘Der Verlust des Gleichgewichts’. Frankfurter Allgemeine Zeitung, 27 April
Ishtar, Midway Contemporary Art, St.Paul, Minnesota
Neues Museum Weimar (Ed.) Die Sammlung Paul Maenz, Band III, Zeichnungen, Aquarelle, Collagen und Verwandtes, Ostfildern-Ruit: Hatje Cantz
Thomas Wuffen, ‚Der Verlush des Gleichgewichts’, Frankfurter Allgemeine Zeitung, 24 April
Ingeborg Ruthe, ‘Angriff auf die Aura’, Berliner Zeitung, 8 March
Katrin Whitneven, “Es grünt so grün, wo tausend dollar blühn,”Der Tagesspiegel
Ruthe von Ingeborg, ‘Angriff auf die Aura’, Berliner Zeitung Kunst, Mar 8
Katchup Grünes, Feuilleton Berliner Zeitung number 60, Mar 12
Helmut Kronthaler, ‘Aneignung-Sturtevant Ketchup-Zitat’, Kunstzeitung, Nr.69, May
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
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
Shifting Mental Structures, Ed. Alexander Tolnay, Neuer Berliner Kunstverein, Berlin
Paul Maenz: Ein Dialog. DaimlerChrrysler Contemporary, Berlin
Private/Corporate, Werke aus der Sammlung Daimler Chrysler und aus der Sammlung
Minimalism and After, Neuerwerbungen, Damier Chrysler Contemporary, Berlin
Min Marilyn, Liljevalchs Konsthall, Stockholm
Iconoclash, Jenseits der Bilderkriege in Wissenschaft, Religion und Kunst, ZKM, Karlsruhe
2002
Kunst nach Kunst. Ed. Peter Friese, Neues Museum Weserburg, Bremen
Kerstin Stemmel, ‘Schone Neue Welt’, Neue Zuricher Zeitung, 21 June
Ornament und Adstraktion, Ed. Markus Bruderlin and Ernst Beyeler, Fondation Beyeler, Basel
Sturtevant, Elaine, Copy without Origins: Self as Disappearane, Unpublished essay for exhib. at Galerie Thaddaeus Ropac, Paris
Trade- Waren, Wege und Werte im Welthandel Heute, Ed. Thomas Seeling, Foto Museum Winterthur, Zurich, Scalo
Elaine Sturtevant, ‘Fake/Original’, Pro Literris Gazetta (2001), p.98
‘Fake Sturtevant Proliterris, Zurich, N. 1 – 2001 Original” ZDF. TV emission
‘Kunst und Markt’, Tagespiegel, Mar 21
‘Freier Wettbewerb’, Tagespielel Berlin, Mar 21
2001
‘Sturtevant’, Style, n. 040, May
Dunja Stacovitz, ‘Sturtevant’, Style 40, May, pp.42-47
Noi’, Jenseits der Grenzen, Bano III, Dialog der Avantgarden, DuMont, Köln
Johannes Salzwedel, ‘Damo der Echtheit’. Der Spiegel 45, 6 June, p.249
Hainley, Bruce, ‘Erase and Rewind.’ Frieze 53, Jun-Aug 2000, pp.82-87
Dillinger Running Series, Edition’, Text zur Kunst 10, 40, December, pp.104-105
Romer Stefan, ‘Sturtevant’, Texte zur Kunst. Appropriation Now 12, 46, June, pp. 193-197
Pricenthal, Nancy, ‘Apropos of Marcel’, Art in America 88, 1, January, p.112
Ursula Frohne, ‘Sturtevant Rhetorik der Reprise am Beispiel von Beuys La Revoluzione Siamo
Bruce Hainley, ‘Best of 2002 (Special Issue).’ Artforum International 41, 4 December, pp. 106-130, 128
Rainer Merzger, ‘Attitude und Modernitat. Aspekte des Kanonischen in der Kunst der letzten Jahrzehnte’, Kunstforum International 162, Nov-Dec, p.126
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
Prototest and Survive, Whitechapel Art Gallery, London
Copy Right/ Copy Wrong, Ecole Regionale des Beaux-Art de Nantes
2000
La Petite Interlope, Ecole Regionale des Beaux-Arts de Nantes
Bruce Hainley, ‘Erase and Rewind’, Frieze, issue 53, Jun-Aug
1999
Sturtevant, 1225 Objects a Casino Luxembourg, Forum d’art Contemporain, Luxembourg
1998
Sturtevant, Int./Ext. Visibilities. Photographies Recentes, Galerie Thaddaeus Ropac, Paris
1996
Sturtevant, Ecole Regionale des Beaux-Arts du Mans, Le Mans
1995
Sturtevant, Elaine, Powerful Reversals, Unpublished essay for exhib. at Gallerie Hans Mayer, Dusseldorf
1992
Sturtevant, Ed. Tilman Osterworld, Wurttembergischer Kunstverein, Stuttgart
1991
Sturtevant, Galerie Thaddaeus Ropac, Paris
1990
Sturtevant, 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
1971
Reese Palley Gallery, New York
1969 - 1971
Sturtevant, Studies done for Beuys’ Action Objects and Drawings, New York, Paris, Germany
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