In 1981, Levine photographed reproductions of Depression-era photographs by Walker Evans, such as this famous portrait of Allie Mae Burroughs, the wife of an Alabama sharecropper. The series, entitled After Walker Evans, became a landmark of postmodernism, both praised and attacked as a feminist hijacking of patriarchal authority, a critique of the commodification of art, and an elegy on the death of modernism. Far from a high-concept cheap shot, Levine's works from this series tell the story of our perpetually dashed hopes to create meaning, the inability to recapture the past, and our own lost illusions.
Inscription: Signed and inscribed in pencil on verso BL, BR: "Sherrie Levine // After Walker Evans", "1/10 // 1981"; stamped in ink, verso TC: "1 7769"
Metro Pictures Gallery. "After Walker Evans".
Castle Gallery, College of New Rochelle. "Bogus: Counterfeit Images and Contemporary Art," September 4, 2001–October 21, 2001.
The Metropolitan Museum of Art. "Photography on Photography, from the 1960s to the Present," April 8, 2008–October 19, 2008.
The Metropolitan Museum of Art. "The Pictures Generation, 1974-1984," April 21, 2009–August 2, 2009.
Fineman, Mia. Faking It: Manipulated Photography Before Photoshop. New York: The Metropolitan Museum of Art, 2012. p. 41, fig. 9.