(Elaine) Sturtevant Lichtenstein, Frighten Girl 1966 Oil and graphite on canvas. 45 1/2 x 63 3/4 in. (115.6 x 161.9 cm) Signed, titled and dated "'Lichtenstein, Frighten Girl,' E. Sturtevant, Antibes/Paris, 1966" on the reverse.
Provenance Acquired directly from the artist, circa 1970s Exhibited Paris, Galerie J, America America, 1966 Literature T. Osterwold, et. al., eds. Sturtevant, Württembergischer Kunstverein, Stuttgart, 1992 L. Maculan, Sturtevant: Catalogue Raisonné 1964-2004, Frankfurt, 2005, pp. 107-108 (illustration from 1966 Galerie J exhibit) Catalogue Essay “Adapting freely from the American art critic Alan R. Solomon’s 1964 question ‘Is it a flag, or is it a painting?’ we might ask: Is it a Johns, or is it a Sturtevant? It is interesting to note that, in the 1960s, Sturtevant’s artist colleagues were realizing artworks which also played with existing pictures, images of everyday mass culture bearing attributes of multiplication, reproduction and seriality. One contemporary of Sturtevant’s- Andy Warhol had already begun questioning the uniqueness and aura of the ‘original work’ by having his silkscreen series produced in his ‘Factory’ by assistants. And it was Warhol as well who recognized the magnitude of Sturtevant’s artistic concept, responding immediately to her request that he place the original silk screen of his now so famous Flowers series at her disposal. From the very beginning, Sturtevant’s approach was apparently considered so provocative and subversive, so difficult to pin down, that most art critics and museum curators kept their distance. After all, in each respective aesthetic discourse her work lays claim to validity in a manner which art ideologists find uncomfortably difficult- if not impossible- to objectify. In this connection, Bruce Hainley makes the following observation: ‘Strangely absent from most histories of Pop and Conceptualism, her work has important ramifications for the understanding of both movements. It is as if Sturtevant, with a radical pragmatism, observed and considered so intensely the art of her contemporaries that her gaze burned through its core,” U. Kittelmann and M. Kramer, eds., Sturtevant The Brutal Truth, Frankfurt am Main, 2004, pp. 19-20 Read More
(Elaine) Sturtevant Lichtenstein, Frighten Girl 1966 Oil and graphite on canvas. 45 1/2 x 63 3/4 in. (115.6 x 161.9 cm) Signed, titled and dated "'Lichtenstein, Frighten Girl,' E. Sturtevant, Antibes/Paris, 1966" on the reverse.
Provenance Acquired directly from the artist, circa 1970s Exhibited Paris, Galerie J, America America, 1966 Literature T. Osterwold, et. al., eds. Sturtevant, Württembergischer Kunstverein, Stuttgart, 1992 L. Maculan, Sturtevant: Catalogue Raisonné 1964-2004, Frankfurt, 2005, pp. 107-108 (illustration from 1966 Galerie J exhibit) Catalogue Essay “Adapting freely from the American art critic Alan R. Solomon’s 1964 question ‘Is it a flag, or is it a painting?’ we might ask: Is it a Johns, or is it a Sturtevant? It is interesting to note that, in the 1960s, Sturtevant’s artist colleagues were realizing artworks which also played with existing pictures, images of everyday mass culture bearing attributes of multiplication, reproduction and seriality. One contemporary of Sturtevant’s- Andy Warhol had already begun questioning the uniqueness and aura of the ‘original work’ by having his silkscreen series produced in his ‘Factory’ by assistants. And it was Warhol as well who recognized the magnitude of Sturtevant’s artistic concept, responding immediately to her request that he place the original silk screen of his now so famous Flowers series at her disposal. From the very beginning, Sturtevant’s approach was apparently considered so provocative and subversive, so difficult to pin down, that most art critics and museum curators kept their distance. After all, in each respective aesthetic discourse her work lays claim to validity in a manner which art ideologists find uncomfortably difficult- if not impossible- to objectify. In this connection, Bruce Hainley makes the following observation: ‘Strangely absent from most histories of Pop and Conceptualism, her work has important ramifications for the understanding of both movements. It is as if Sturtevant, with a radical pragmatism, observed and considered so intensely the art of her contemporaries that her gaze burned through its core,” U. Kittelmann and M. Kramer, eds., Sturtevant The Brutal Truth, Frankfurt am Main, 2004, pp. 19-20 Read More
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