Magazine article Artforum International
Left: Sturtevant, Pac-Man (working title), 2012, still from a video animation, 1 minute 15 seconds.
Above: Sturtevant. Blow Job, 2006, still) from a three-channel color video. 1 minute 30 seconds.
Left: Sturtevant. Duchamp Fresh Widow. 1992. enamel paint on wood, leather, brass knobs, glass, 301/4x201/4x41/8
Right: Sturtevant, Trilogy of Transgression, 2004, still from a three-channel color video. 1 minute 40 seconds.
Above: Sturtevant, The Dark Threat of Absence Fragmented and Sliced, 2002, seven color videos. Installation view, Museum fur Moderne Kunst, Frankfurt, 2004. Photo: Axel Schneider.
Below: Sturtevant, Spinoza in Las Vegas, 2008. Performance view, Tate Modern, London, November 1, 2008. Photo: Sheila Burnett.
Below: Sturtevant, Sex Dolls, 2012, sex dolls. Installation view, Moderna Museet. Stockholm, 2012. Photo: Arash Nassiri.
WE CAN'T GET ENOUGH. We love to rediscover STURTEVANT, to relive her relentlessly recombinant logic. We love the way her work multiplies, whether as hyperspeed sexed-up video clip or scandalously wholesale copy or the readymade we never really knew. And we've probably reinterpreted the legendary Parts-based artist as many times as she has reinterpreted the work of others. But over the past several years, Sturtevant has seemed to outstrip even the manic proliferation suggested by her reproductions of Warhol Marilyns and factory-line sex dolls. …