Sarah Charlesworth: Doubleworld

Margot Norton (Text by (Art/Photo Books)) Johanna Burton (Text by (Art/Photo Books))
& 4 more

Product Details

$55.00  $50.60
New Museum
Publish Date
June 23, 2015
8.7 X 11.7 X 0.6 inches | 2.35 pounds

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About the Author

Johanna Burton is Keith Haring Director and Curator of Education and Public Engagement at the New Museum in New York and the series editor for the Critical Anthologies in Art and Culture.
Cindy Sherman was born in 1954. She began her ""Film Stills"" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980--key early shows included a first survey at the Stedelijk Museum, Amsterdam, in 1982 and a retrospective at the Whitney Museum of American Art in 1987. Sherman is the recipient of a MacArthur Foundation ""genius"" award, a John Simon Guggenheim Memorial Fellowship, and the Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts.
A British ex-pat, Lisa loves high-stakes stories of mayhem and disaster where you can find made-for-each-other love that always ends in happily ever after. Lisa leads worship with her husband at their church. They have two kids and an all-black Airedale.


By removing images from their original context and placing them in an alternative space, Charlesworth is in essence creating a new language....we might call Charlesworth not a "Writer" but instead an "un-writer" who un-wrote: removing, redacting, and then showing us our world anew, through her eyes, in her Doubleworld.--Cynthia Cruz "Hyperallergic "
The world Sarah Charlesworth depicts is not simply a duplication of the world we know, but a separate world that insists upon the infinite complexity--and power--of pictures.--Simone Krug "Brooklyn Rail "
Of all the Pictures artists, many of whom were women, few remained as stauncly loyal to photography as she. No one explored its history, formal possibilities and very mechanisms with such a determined, even obsessive, drive, nor did anyone make color so abstract and implacable.--Roberta Smith "New York Times "