Sturtevant was born in Ohio (USA) and made the first years of her artists life working in New York where she began in 1965 to manually reproduce paintings and objects created by her contemporaries with results that can immediately be identified with an original – closely enough to intrigue the viewer and raise the fundamental question, what am I looking at?  Reflection, thinking, and analysis is the core of her work, from the paintings of the late 1960’s to the most recent videos and installations.  There is a famous Sturtevant maxim that runs,  “negative definition is a very powerful philosophical position.” During the era of Pop-art Sturtevant made her version of Warhol’s flowers, John’s Flags, Stella’s black and grey paintings and developed this discourse a decade later after moving to Paris, with works based on Marcel Duchamp, Joseph Beuys and Anselm Kiefer.  In the last two decades Sturtevant has evolved a highly structured and rigorous exploration of current events making multi-screen video works, and installations exposing the simulacrum that is as much an attack on arts media/advertising dimension as the corrupt power structures that surround it.
In 2010 Sturtevant had an important exhibition titled The Razzle Dazzle of Thinking at the Musee Moderne de la Ville de Paris. The artist was awarded The Golden Lion award for Lifetime Achievement at the Venice Biennale in 2011. The Moderne Museet, Stockholm presented an exhibition curated by Daniel Birnbaum in March 2012 which moved afterwards to the Kunsthaus Zurich.

On May 7, 2014 Elaine Sturtevant passed away in Paris where she worked and lived since the 1990s. Her timeless work and unique contribution to Contemporary Art in connection to other intellectual discourses will forever be reflected in future avant-garde generations.

In 2014/2014, the MMK Museum für Moderne Kunst in Frankfurt am Main (Germany), the Albertina in Vienna (Austria) as well as the Hamburger Bahnhof in Berlin (Germany) presented a comprehensive survey of her works on paper, titled Sturtevant. Drawing Double Reversal.

In the USA, the Museum of Modern Art New York and the Museum of Contemporary Art Los Angeles honoured Sturtevant with a retrospective bringing together over 50 key artworks from all periods and in almost every medium in which she worked.



College Art Association, for the exhibition at Gavin Brown’s enterprise, “Rock & Rap /c Simulacra.”, New York

Kurt Schwitters Prize for Lifetime Achievement, Sprengel Museum Hannover



Golden Lion for Lifetime Achievement, Venice Biennale



Greenburger Award, New Museum (New York)



Beaux-arts Magazine Award, best internationa exhibition (Paris)



Beaux-arts Award : best international exhibition : "Sturtevant: The

Brutal Truth", Museum of Modern Art (Frankfort)



Art Award : best exhibition of the year (Paris)

Solo exhibitions


"Undeniable Allusion", Galerie Thaddaeus Ropac, Paris, France



"Drawings: 1964-1994", Galerie Thaddaeus Ropac, Paris, France

"Gober Partially Buried Sinks", Gavin Brown’s enterprise, Sant’Andrea de Scaphis, Rome, Italy.



"The House of Horrors (le Train fantôme)", Musée d'Art Moderne de la Ville de Paris, Paris, France.

"Sturtevant Sturtevant", Madre, Napoli, Italy.

"Drawing Double Reversal", Albertina, Vienna, Austria.

"Drawing Double Reversal", Nationalgalerie im Hamburger Bahnhof-Museum für Gegenwart, Berlin, Germany.

"Double Trouble", Museum of Contemporary Art, Los Angeles, California, USA.



"Reloaded", Galerie Thaddaeus Ropac, Paris , France.

"Drawing Double Reversal", Museum fur Moderne Kunst, Frankfurt am Main, Germany.

"Double Trouble", MoMA, New York, NY, USA.



“Leaps Jumps and Bumps“, Serpentine Gallery, London

“House of Horrors“, Sprengel Museum Hannover

“Finite / Infinite“, Gavin Brown’s enterprise, Los Angeles



“Image over Image“, Moderna Museet, Stockholm

“Rock and Rap /C Simulacra“, Gavin Brown’s enterprise, New York City

“L’abécédaire de Deleuze“, Galerie Thaddaeus Ropac, Paris

“Image over Image“, Kunsthalle Zurich



“In Praise of Doubt“, Punta della Dogana, Venice, curated by Caroline Bourgeois

Italian Pavillon of Venice Biennale (awarded the GOLDEN LION for Lifetime Achievement)



“The Razzle Dazzle of Thinking“, Musée d'Art Moderne de la ville de Paris, Paris

“Vertical Nomad“, Galerie Neu, Berlin

“Elastic Tango“, Anthony Reynolds Gallery, London



“Blow Job“, Air de Paris, Paris



“Vertical Monad“, Anthony Reynolds Gallery, London

“Sturtevant“, Le Consortium, Dijon



“Raw Power“, Galerie Thaddaeus Ropac, Paris

“RE-Run“, Galerie Mezzanin, Vienna



“Cold Fear“, Anthony Reynolds Gallery, Londres

“Dillinger Running Series“, Site Galerie, Düsseldorf

“Digital Click“, Art Unlimited, Basel



“The Brutal Truth“, MIT List, Cambridge, MA

“Push and Shove“, Perry Rubenstein Gallery, New York



“The Brutal Truth“, Museum fur Moderne Kunst, Frankfurt Am Main

Perry Rubenstein Gallery, New York



“The Dark Threat of Absence“, Galerie Thaddaeus Ropac, Paris (catalogue)

Galerie Mezzanin, Vienna

“The Sixties. Lichentenstein, Warhol, Wesselmann, Rosenquist“, Galerie Daniel Blau, Berlin



“Shifting Mental Structures“, Neuer Berliner Kunstverein, Berlin

“Sturtevant. Work on paper 1965/66/69“, Galerie Daniel Blau, Munich

“I love Arlette“, Galerie Thaddaeus Ropac, Paris



“Dillinger Running Series“, Galerie Thaddaeus Ropac, Paris

“Ça va aller“, Galerie Hans Mayer, Berlin



“Copy without Origins : self as disappearance“, École Régionale des Beaux-arts de Nantes, Nantes




“Duchamp 1200 Coal Bags", MAMCO, Genève,

“Sturtevant. 1225 Objects“, Casino Luxembourg, Forum d'Art Contemporain, Luxembourg



"Int./Ext. Visibilities", Galerie Thaddaeus Ropac, Paris

“Ça va aller“, Air de Paris, Paris



Galerie Six Friedrich, Munich



Ecole Régionale des Beaux-Arts, Le Mans



“Powerful Reversals“, Galerie Hans Mayer, Düsseldorf



Galerie Thaddaeus Ropac, Paris



Villa Arson, Nice, Musée d'Art Contemporain

Stux Gallery New York

Galerie Hans Mayer, Dusseldorf



“Sturtevant“ (touring exhibition), Württembergischer Kunstverein, Stuttgart

Deichtorhallen, Hamburg



Galerie Thaddaeus Ropac, Paris (catalogue)



Rhona Hoffman Gallery, Chicago



“Sturtevant. Werke aus 25 Jahren“, Galerie Paul Maenz, Cologne

Art Basel 89, Galerie Six Friedrich, Munich



“Drawing 1988-65", Bess Cutler Gallery, New York



Daniel Weinberg Gallery, Los Angeles

Stux Gallery, New York



White Columns, New York



Onnasch Gallery, New York



“Sturtevant. Studies done for Beuys' Action and objects“, Duchamps' etc. Including film, Everson Museum,         Syracuse, New York



“Sturtevant. Studies done for Beuys' Action objects and drawing“, Reese Palley Gallery, New York



“Sturtevant. Huit Tableaux et un Prototype“, Galerie Claude Givaudan, Paris



“Sturtevant. Huit Tableaux et un Prototype“, Galerie Claude Givaudan, Paris



"The Store of Claes Oldenburg",623 East, New York

"Relâche", School of Visual Art, New York



“America America“, Galerie J, Paris



Bianchini Gallery, New York

Group exhibitions


Space Age, Galerie Thaddaeus Ropac, Pantin, France



“In These Great Times“, curated by François Piron, Kunsternes Hus, Oslo and Charlottenborg, Copenhagen

“69 / 96.“,  the Gebert Foundation, Rapperswil



“second reflection / symmetrical contents STURTEVANT and SECONDEDITIONS“, Chelsea Space, London

“Des images comme des oiseaux“, La Friche Belle de Mai, Marseille

“Pop Art Design”, Barbican Art Gallery, London

“Virginia Dwan, Filmaker, Videographer, and film Producer“, The Emily Harvey Foundation, New York City

“Ausweitung der Kampfzone. Die Sammlung. 1968-2000“, Neue Nationalgalerie, Berlin



Henry Moore Institute, Leeds

“Sinister Pop”, Whitney Museum of American Art, New York City



“ILLUMInazioni – ILLUMInations”, 54th International Art Exhibition, Venice

“Eloge du doute”, Punta della Dogana, Venice

“The personal is Political : Women artists from the collection”, MOCA, Los Angeles

“Role Models and Role Playing”, Museum of Modern Art, Salzburg



“Seconde main” Musée d’Art Moderne de la Ville de Paris

“Pop Life”, Hamburger Kunsthalle, Hamburg



“Die Kunst ist Super !“, Hamburger Bahnhof, Berlin

“The Quick and The Dead “, Walker Art Center, Minneapolis

“Pop Life”, Tate Modern, London

Hayward Gallery, London

“VOID” George Pompidou, Paris

The Danish and The Nordic Pavilions – La Biennale di Venezia, Venice



“Set 5“, Fotomuseum Winterthur, Zurich

Galerie Mehdi Chouakri, Berlin

“The archer and the Goat“, Anthony Reynolds Gallery, London

“Exposing Flesh“, III CCS Bard, New York



Début de siècle, Musée départemental d'Art Contemporain de Rochechouart, Rochechouart

“it (is not) a fake“, Galerie Sho Tokyo

“Wack ! Art and the feminist revolution“, MOCA, Los Angeles

“Ten Curators“, Colette, Paris

“Good Morning Midnight“, Casey Kaplan Gallery, New York

“Steven Parrino - La Marque“, Noire, Palais de Tokyo, Paris

“Group Show“, Anthony Reynolds Gallery, London



“Twice Drawn“, Tang Museum

Air de Paris, Paris

PS1, New York

Whitney Bienniail, Whitney Museum of American Art, NYC

MMK, Frankfurt



De Singel, Antwerp

Galerie Mezzanin, Vienna

Mamco, Geneve

“Joy“, Casino Luxembourg, Luxembourg

Kunstforum, Vienna

Kunsthalle Vienna

“Frieze“, London, Gallery A.R



“20 Jahre, 20 Years, 1984-2004“, Galerie Thaddaeus Ropac, Salzburg

“Besides, popularity is a rather lumpy concept, no?“ Kunthalle Dusseldorf

“About Painting“, Tang Museum, NY

Frac Paca, Marseille

“Before the End“, Le Consortium, Dijon

“Paris Photo“, Paris



“Aftershock“, Dickinson Roundell, New York

“Das Lebendige Musuem“, Museum fur Moderne Kunst, Frankfurt

University of Sunderland, Sunderland

“Ishtar“, Gallery Midway, St. Paul

The DaimlerChrysler Collection, Museum fur Modern Kunst, Karlsruhe

“Influence, Anxiety and Gratitude“, List Visual Arts Center, Cambridge

“Une Collection de 'Chefs d'oeuvre' - emprunts, pastiches, copies, citations et

interprétations“, Frac Limousin, Limoges

“Living with Duchamps“, Tang Museum, New York

“Re-Production 2“, Georg Kargl Fine Arts, Vienna

“Un tableau dans le décor“, Peintures 1970-2000, Musée des Ducs de Bretagne, Nantes

Paris Photo, Paris

Site, Düsseldorf



“Virement 2002“, MAMCO, Geneva

Paris Photo, Paris

Pace/Macgill Gallery, New York

Nederlande Foto Institut, Rotterdam

“Manifeste oder Ergriffenheit- Was ist das“, Galerie Daniel Blau, Munich

“Minimalism and After“, DaimlerChrysler Contemporary, Berlin

“Iconoclash. Jenseits der Bilderkriege in Wissenschalft, Religion und Kunst“, ZKM Karlsruhe

“Min Marilyn“, Lijevalchs Konsthall, Stockholm

“Art After Art“, Neues Museum Weserburg, Bremen

“Private/Corporate : A Dialogue“, Haus Huth, Berlin

“Kunst nach Kunst“, Neues Museum Werserburg, Bremen



“Répertoire (Replay) 'Oh cet écho !' (Duchampiana) 2“, MAMCO, Geneva

“Répertoire (Replay)'ce qu'il plait 2'“, MAMCO, Geneva

“Ornament und Abastraktion“, Foundation Beyeler, Basel

“Trade-Waren, Wege und Werte im Welthandel Heute“, Winterthur Foto Museum, Winterthur

“Candice Breitz, Claude Closky, Elaine Sturtevant, Martin Walde, Erwin Wurm“,

Gallery Mezanin, Vienna

La Bretagne Collectionne l'Art de notre Temps, les 20 ans du Frac

Bretagne/Mélange, Domaine de Kerguehennec , Centre d'Art Contemporain, Bignan

Georg Karl Fine Arts, Vienna



“Protest & Survive“, White Chapel, London

“Copy Right/Copy Wrong“, Ecole des Beaux-Arts de Nantes

“Les 100 sourires de Mona Lisa“, Tokyo



“Original. Echt/Falsch“, Neues Museum, Bremen

Air de Paris, Paris

“Werke aus der Sammlung FER, Froelich, Graesslin, Waishaupt“, ZMK, Karlsrube

“À propos de Duchamps“, Curt Marcus Gallery , NYC

“Patchwork in progress 5 'Oh cet écho !' (Duchampiana)“, MAMCO, Geneva

“Weg aus dem Bild“, Georg Karl Fine Arts, Vienna



“Das Jahrhundert der Kunslerischen Freiheit“, Wiener Sezession, Vienna

“Sequence“, Edition Schellmann Munich, New York)

“Upfreshing Wind from Changing Directions“, Weimar Neues Museum, Weimar

“Painting Now and Forever“, Pat Hearn Gallery, New York

“One Hundred years of Artistic Freedom“, City Art Musem, Helsinki

“Auffrischender Wind aux weschselnden Richtungn. Internationale Avantgarde seit

1960. Die sammlung Paul Maenz“, Neues Museum, Weimar



Galerie von Lintel, Munich

“From One Point to Another“, L'Atelier Soardi, Nice

“Sous le manteau“, Galerie Thaddaeus Ropac, Paris



Magritte, Montreal Museum of Fine Arts, Montreal

Kunstsammlung Nordhein-Westfalen, Düsseldorf

La Criée, Centre d'Art, Rennes

L'Art du Plastique, Ecole Nationale Supérieure des Beaux-Arts, Paris

Museum der Kultur der Welt, Berlin

Now/Here, Louisiana Museum of Modern Art, Humlebaeck

Shift, Neue Gesellschaft fur Bildende kunst, Berlin



MAMCO, Genève

“Qui est Libre?“, Ecole des Beaux-Arts,Rouen

“Saut dans le vide “, Maison Centrale des artistes ThDKh, Moscow

Zentrum Paris, Art Frankfurt 94, Frankfort



"Zentrum Paris", Kunsthalle Ritter, Klagenfurt

"Drawings 30th Anniversary Exhibitions", Leo Castelli Gallery, New York



Galerie Sylvana Lorenz, Paris

Galerie Six Friederich, Munich

"Objects for an ideal home", Serpentine Gallery, Londres



"Charade of Mastery", Whitney Museum of American Art, downtown New York

"Denk-Bilder", Kunsthalle der Hypo-Kulturstifstun, Munich, Heydt-Museum, Wuppertal

"Aspect de l'art du XXéme siécle", Abbaye Saint André, Meymac

"(Art)", California State University Fullerton, California

"Hybrid Abstraction", Bennington College, Vermont

"Das Goldene Zeitalter", Württembergischer Kunstverein, Stuttgart



Permanent Collection, Museum of Contemporary Art, Los Angeles

“Charade of Mastery. Deciphering Modenism in the Contemporary Art“, Whitney

Museum of American Art, New York

“Spellbound“, Mark Richard Gallery, New York



“Prospect 89“, Frankfurter Kunstverein, Frankfurt Main

“D&S Ausstellung“, Kunstverein,  Hamburg

“A Decade of Drawing“, Daniel Weinberg Gallery (Los Angeles)

“The silent Baroque“, Galerie Thaddaeus Ropac (Salzburg)



Scott Hanson Gallery, New York,"Complexity &Contradiction"

“Vraiment Faux“, Fondation Cartier (Jouy-en-Josas),

“Hommage-Demontage“, Neue Galerie Sammlung Ludwig (Aachen), WIlhem-

Hack-Museum, Ludwigshafen, Stadtisches Museum Gelsenkirchen, Hedendaage Kunst

Provinciaal Museum, Hasselt

Museum Moderner Kunst, Vienna




“st bienal internacional de Pintura au Museo de Arte Moderno, Cuenca

“Glittering Prize“, Stux Gallery, New York

“Post-Abstract Abstraction“, Adrich Museum, Ridgefield



“Investigations“, McIntosh/Drysdale Gallery, Washington

Production Re-Production, Galerie 345, New York



“The Art of Appropriation“, Alternative Museum, New York



“Art in the Mirror“, Museum of Modern Art, New York



Institute Of Contemporary Art, Philadelphia, PA


CATALOGUES (selection)


The Razzle Dazzle of Thinking, ARC / Musées de la ville de Paris, JRP Ringier 2010.

Sturtevant: Author of the Quixote, Cologne, Buchhandlung Walther König 2009.

Mario Kramer, Udo Kittelmann, Lena Maculan: Sturtevant. Catalogue raisonné., Stuttgart, Hatje Cantz, 2005

PUSH AND SHOVE, New York: Perry Rubenstein Gallery, 2005.

Catalogue Raisonne, Museum für Moderne Kunst, Frankfurt am Main, 2004 

The Brutal Truth, Museum für Moderne Kunst, Frankfurt am Main, 2003.  

Ishtar, St. Paul, MN: Midway Contemporary Art, 2003.

Sturtevant, Munich: Daniel Blau, 2003.

The Dark Threat of Absence, Paris/Salzburg: Galerie Thaddaeus Ropac, 2003.

Hainley, Bruce and John Waters. Art Works: Sex. London: Thames & Hudson Ltd., 2002.

Shifting Mental Structures. Stuttgart: Cantz, 2002.

Minimalism and After. Berlin: Sammlung Daimler Chrysler, 2002.

Min Marilyn. Stolkholm: Liljevalchs Konsthall, 2002.

Private/Corporate. Berlin: Daimler Chrysler, Berlin, 2002.

Ornement et Abstraction. Cologne: DuMont and Basel: Foundation Beyeler, 2001.

Trade. Winterthur: Winterthur Foto Museum, 2001.

Women Artists. Cologne: Taschen, 2001. 

Protest & Survive. Whitechapel Art Gallery, London, Manchester: Cornerhouse

    Publication, 2000.

Les 100 Sourires de Mona Lisa. Tokyo: Nihon Keizai Shinbun, Inc., 2000. 

Kunst Sammeln, Karlsruhe, ZKM Museum für Neue Kunst, 1999.

Rosenblum, R. On Modern American Art. New York: Harry N. Abrams, Inc., 1999.

ART, 20 years anniversary ART. Hamburg: Gruner & Jahr AG&CD, 1999.

Sturtevant. Fake/Original, Bremen: Neues Museum Weserburg, 1999.

International Avant-garde Since 1960: The Paul Maenz Collection. (Sturtevant Vol. 1

    and 11). Weimar: Neues Museum, 1998. 

Sturtevant: Int./Ext. Visibilities, Paris/Salzburg: Galerie Thaddaeus Ropac, 1998.

Sequences A Collection of Prints. Munich: Edition Schellmann, 1998.

Shift. Berlin: NGBK (Hg), 1996.

Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of

Dissent. London: Calmann & King Ltd., 1996.

Cottingham, Laura. Now/Here, Humblebaeck, LA: Louisiana Museum of Modern Art,


Fleck, Robert. La Criée. Rennes: Criée Centre d'Art, Rennes, 1996.

Cueff, Alain, Didier Ottinger, Pierre Stercks, Sturtevant, Verschaffez. Magritte, les

exercises Spirituels, Münich: Prestel-Verlag, 1996. 

Perrin, Frank. Collection collective, La Question du double, Montreal: Musée des

    Beaux-Arts, 1996. 

Eiblmayr, Sylvia and Robert Fleck. Original. Verlag: Cantz, 1995.

Ziesche, Angela. Skulpturen, Objeke und Installationen von Kunstler innen de 20

Jahrbusderts. Buchverlag, Cologne: DuMont, 1995.

Sturtevant. Württembergischer Kunstberein Stuttgart/Deichtorhallen, Hamburg /

Centre National d'Art Contemporian, Villa Arson, Nice, 1992.

Zdenek, Felix & Messler Norbert. Denk Bilder. Verlag: Hirmer, 1991. 

De Vries Gerd. (ed.) Paul Maenz Köln, An Avant-Garde Gallery and the Art Of Our

Time. Buchverlag, Cologne: DuMont, 1991.

Galerie Thaddaeus Ropac, Paris, 1991.

Aspects de l'Art du XXéme siécle. Meymac: Abbaye Saint Andre, 1991.

Objects for the Ideal Home London: Serpentine Gallery, 1991.

(Art)2. Fullerton, CA: California State University, 1991.

Sturtevant. Chicago: Rhona Hoffman Gallery, 1990.

Leigh, Christian. New Good Old Days. Cologne: Galerie Paul Maenz, 1989.

Sturtevant: Works from 25 Years. Cologne: Galerie Paul Maenz, 1989

Sturtevant. Munich: Galerie Six Friedrich, 1989.

D & S Ausstellung. Hamburg: Kunstverein, 1989.

Leigh, Christian. The Silent Baroque. Salzburg: Galerie Thaddaeus Ropac, 1989.

Bilderstreit: 56 Kölner Galerien. Cologne, 1989.

PROSPECT 89. Frankfurt am Main: Frankfurter Kunstverein, 1989.

Vraiment Faux. Paris: Foundation Cartier, 1988.

Sturtevant: Drawings 1988 - 1965. New York: Bess Cutler Gallery, 1988.

Leigh, Christian. Complexity & Contradiction. New York: Scott Hanson Gallery, 1988.

Hommage-Demontage. Aachen: Neue Galerie - Sammlung Ludwig, 1988.

Sturtevant 1987. New York: Stux Gallery, 1987.

A Different Corner. Definition and Redefinition. Painting in America. Cuenca, Equador:

    Museo de Arte Moderno, 1987.

Schwartz, Eugene. Post-Abstract Abstraction. Ridgefield, CT: Aldridge Museum of

    Contemporary Art, 1987.

Ferrer, Elizabeth and John Paoletti. The Art of Appropriation. New York: Alternative

    Museum, 1986.

Harithas, James. Sturtevant. Syracuse, New York: Everson Museum, 1973.

Beuys Actions, Objects and Drawings. New York: Reese Palley Gallery, 1971.




Parkett: Sturtevant, Andro Wekua, Paul Chan, Kerstin Bratsch, Cologne, Parkett Publishers



The Razzle Dazzle of Thinking, Musée d'Art Moderne de la Ville de Paris

Chefs-d'oeuvre?, Centre Pompidou-Metz



Pop Life, Tate Modern, London



Set 5, Jerderman Collection, Fotomuseum Winterthur, Zurich



Début de siècle, Musée départemental d'Art Contemporain de Rochechouart


Steven Parrino - La marque Noire, Palais de Tokyo, Paris



Push and Shove, Perry Rubenstein Gallery (New York)



Wall Street Journal, June 9-11

Numéro, Août

Frog, October (cover)

Art review, Nov. pp. 78-94

Bergdorf Goodman, Fall collection 2005

«Sitting for Timothy Greenfield-Sanders», Self-Service



Lobel, Micheal. "Inappropriate Appropriation," Parkett. No. 75, Dec. 2005. pp. 142 - 147.

Nancy Princenthal. "The Other Truth," Art In America. Dec 2005.pp  102 -107.

Halley, Peter. Index Magazine, Sept/Oct, pp 44-51. 

Johnson, Ken. The New York Times, May 20, p. E23.

McQuaid, Cate. "Mirror Images," The Boston Globe, May 13, pp  D17-18. 

Homes, A.M. "Visionary Quest," Vanity Fair, no. 537, May, p. 100.

Wright, Karen. "Déjà Vu," Modern Painters, May, pp 88 - 93.

Moisdon, Stéphanie. "lauréat prix de la meilleure exposition internationale Elaine  Sturtevant," Beaux Arts magazine, no. 248, Jan. 

Janevski, Ana. "The Brutal Truth of art," domus, Jan/Feb, p. 8.

Coulson, Amanda.  Review from Frankfurt, "Sturtevant:  The Brutal  Truth", Modern Painters, February 2005, p


"Kunst beim Denken zusehen," Frankfurter Allgemeine Sonntagszeitung, Jan 30,p. R4.

Fricke, Christiane. "Elaine Sturtevants Werke sehen aus wie Kopien -  sind aber keine," Handelsblatt, Jan, p. 39.

 Brutale Wahrheit," Süddeutsche Zeitung, Jan 18, p. 15. 

 Preis für beste Kunstschau 2004 an MMK," FAZ Rhein Main   Zeitung, Jan 14, p.45.




Nabakowski, Gislind. "Elaine Sturtevant," artpress, 307, p. 75. 

"Das Magazin für zeitgenössische Kunst," Dec/Jan, p. 47. 

"Elaine Sturtevant in Frankfurt," Feuilleton, Dec 25, p.52.

Huther, Chraistian. "Geheimnis der Aura entdeckem," Main Echo, Dec  24.

Lamm, April Elizabeth.  "As brave as a blizzard", Art Review,  

International edition,  V2N8, pp 127-31.

Birnbaum, Daniel. "Top Ten: Best of 2004", Artforum, Dec, p 160-1.

Hainley, Bruce. "Top Ten: Best of 2004", Artforum, Dec, p 164-5.

"Elaine Sturtevant in Frankfurt: Robert Flace schreibt Udo Kittelmann," Kunstzeitung, Nr. 100, Dec.

Hübner, Klaus. "Sturtevant "The Brutal Truth"," Westzeit, Nettetal, Dec 12. 

Christofori, Ralf. "Wenn das Original kein Original ist," Kunst-Bulletin,  Dec, pp 26-31.

Kuni, Verena. "Reviews," spike Kunstmagazin, Dec, p. 106.

Peschke, Marc. Kunsttermine, Nov-Jan, p. 166. 

Hafner, Hans-Jürgen. "Sturtevant: "The Brutal Truth"," Kunstforum International,  Nov/Dec, pp 354-5. 

 Kuhn, Nicola. "Oft kopiert, mehr erreicht," Der Tagesspiegel, Nov 15,  p. 23. 

Olivares, Rosa. "Sturtevant," EXIT Express, Nov, p. 25. 

Wagner, Thomas. "Andy, gib mir dein Sieb," FAZ 6, Nov, p. 35.

Artprice, Nov, p. 40-1.

Tittel, Cornelius. "Sie spielte Tennis, bis die Zeit reif für sie war," Welt am Sonntag,  Nov 21, p. 67.  

Huther, Chriatian. "Original und Kopie," Weltkunst Die Zeitschrift für 

Kunst und Antiquitäten, Nov.  

Sturtevant The Brutal Truth," Mitteilungen Journal des Hessuschen Museumsverbandes, p. 16. 

Kunsthistorische Arbeitslätter, Nov, p. 64. 

"Top 15," Monopol Magazin für Kunst und Leben, Nr. 4, Oct/Nov, p  131.

Bosetti, Petra. "Warhol sagte: "Wow, Elaine!"," Art Das Kunstmagazin, No. 10, Oct, p. 82.  

"Questionnaire: Sturtevant", frieze, Issue 86, Oct, p 180.

Levin, Kim. "Flowers in Chelsea from the original appropriation artist", Village Voice, Oct 13-19, p c89.

Spinelli, Claudia. "Die Meisterschülerin," Die Weltwoche, Oct 28, p.  91. 

Kalle, Janina. "Fragen Sie Elaine," Antiquitäten Zeitung, Oct 15, p.34.

"Wenn "Kopien" zu Originalen werden, " Das Blättche Ihre Stadtteil- Zeitung, Oct 7.

Heiser, Jörg. "Im Bermudadreieck der Ideen," Süddeutsche Zeitung, Oct 6, p. 17.

Müller, Hans-Joachim. "Freundliche Übernahme," Die Zeit, Oct 7, p.  49.

"Original oder Kopie?" DB mobil, Oct. 

Gries, Benjamin. "Keine Fälschungen, alles sind nur Wiederholungen," Rhein Zeitung, Sep 29, p. 26. 

"Blaues Wunder, amerikanischer Blick, Kunst über Kunst," FAZ Bühnen & Museen, Sep 27, p B. 

Huther, Christian. "Elaine Sturtevant verdoppelt die Kunst," Krefelder  Stadtpost, Sep 25.

Dreieich Spiegel, Sep 25, p. 1.

Nowak, Christine. "Kunst-Klone galten einst als Provokation," Offenbach Post, Sep 24.

Höhle, Stephan. "Die nackte Kunst-Wahrheit," Wetzlarer Neue Zeitung, Sep 24. 

Buhr, Elke. "Mit Warhols Sieb," Frankfurter Rundschau, Sept 24, p.  15.

Pisano, Hortense. "Die Kunst des Zitats - oder alles nur geklaut,"  News, Sep 24, p. 36.

"Brutale Wahrheit," Diepholzer Kreisblatt, Sep 24. 

"Hier ist garantiert alles original gefälscht," Bild Zeitung, Sep 24, p. 6. 

FAZ Rhein-Main-Zeitung, Sep 24, p. 57.

Hierholzer, Michael. "Absolutes und Avantgarde," FAZ, Sep 22.

"Doubles furs Museum," Der Spiegel, No. 38, Sep 13. 

Hierholzer, Michael. "Die Wiederholung," Frankfurter Allgemeine 

Sonntagszeitung, Sep, p. R4.

Wolters, Dierk. "Alles falsch - oder auch nicht," Frankfurter Neue 

Presse, Sep 24, p. KuS 1.

"Originale? Fälschungen?," Die Welt Kompakt, Sept 22, p. 29. 

Pisano, Hortense. "Alles Nur Geklaut?" Journal Frankfurt, Sep, pp 30- 6. 

Greenan, Althea. "Books", Contemporary Magazine, pp 50-2.

Crüwell, Konstanze. "Abkehr vom Mythos des Originals," Frankfurter Allgemeine Zeitung Bühnen &  Museen, Aug 30.



Buskirk M, "The Contingent Object of Contemporary Art, MIT Press Cambridge, London

"Works on Paper" , Tefaf Mastricht, Brochure

 "Der Mensch als Kunstwerk, Kolner Stadt-Anzeiger, 2 May

"Exhibition That Features Exhibitions", New York Times

"Trésor Public" Exhibition Catalogue, frac 2003

Die Presse, 06 November

Art Magazine, Seite 1 von 2



Art Forum,"The best of 2002", December

Metzger, Rainer "Attitude und Modernitat", Kunstforum, n.162, Nov-Dec.

"Art Works: Sex " , Waters John, Hainley Bruce,  Thames & Hudson LTD London

Shifting Mental Structures, Cantz, Stuttgart

Sammlung Daimler Chrysler Minimalism and After2002, exhibition catalogue

Der Tagesspiegel " Es grünt so grün, wo tausend dollar blühn, Whitneven Katrin

Berliner Zeitung " Feuilleton Grünes Ketchup" numero 60, Dienstag 12 mars 2002

Berliner Zeitung Kunst " Angriff auf die Aura" , von Ingeborg Ruthe, Freitag 8 Mars

Frankfurter Allgemeine Zeitung " Der Verlush des Gleichgewichts" Wulfen Thomas, 27.04

"Min Marilyn", Liljevalchs Konsthall, 2002, Exhibition catalogue

Private / Corporate, Daimler Chrysler, Berlin, Exhibition catalogue

Kunstzeitung "Aneignung-Sturtevant Ketchup-Zitat", Kronthaler Helmut, Nr.69 / Mai



Style magazine,"Sturtevant",  mai   n. 040

Tagespielel Berlin, "Freier  Wettbewerb", 21 mars

"Ornement et Abstraction" , Fondation Beyeler, exhibition catalogue, Dumont

"Fake           Sturtevant Proliterris, Zurich, N. 1 -2001 Original"

"Trade", Winterthur Foto Museum, exhibition catalogue

ZDF . TV emission

Tagespiegel, "Kunst und Markt, 21 mars 2001

Women Artists , Taschen, Köln



Hainley, Bruce, "Erase and Rewind", Frieze, June July Aug 2000,Issue 53

Site n° 5 , October 2000

Frohne, Ursula "Sturtevant Rhetorik der Reprise am Beispiel von Beuys La Revoluzione Siamo Noi",

Jenseits der Grenzen, Bano III, Dialog der Avantgarden, DuMont, Köln 2000

Protest & Survive, Whitechapel Art Gallery, London, Cornerhouse Publication Manchester

Les 100 sourires de Mona Lisa, Nihon Keizai Shinbun , Inc. Tokyo

Texte Zur Kunst, December 2000  



Kunst Sammeln, ZKM Museum für Neue Kunst, Karlsruhe, Exposition catalogue

R. Rosenblum, "On Modern American Art", Harry N. Abrams, inc NYC 1999

ART, 20 years anniversary   ART, Gruner & Jahr    AG&CD  Hamburg 1999

Glueck G. "Art Review", New York Times, Oct. 22,1999

Der Spiegel, Szene, 30/1999

Nordwes-  Zeitung, Kultur, 7/27/99

Römer Stefan, Original - Echt/Falsch, Kunstforum International, Sept-Nov. 1999

Kramer H., "A Critic's View", New York Times , Oct. 30, 1999

Sturtevant, "Fake/Original", Originals echt falsch, Exhibition catalogue,Neues Museum Weserburg, Bremen

S.Romer, "Fake/als Original", AICA, Internationaler Kunstkritiker verbaral, Köln

Sturtevant ,  "Fake/Original", COPYRIGHT N°. 1 Berlin

SITE n°2 , April 1999

De Jaeger C., "Le métalanguage d'Elaine Sturtevant", Luxemburger Wort, 05.08.99

"De l'originalité de l'oeuvre" Exposition Sturtevant au Casino. Tageblatt  30.07.99

"Konigan van  het plagiat in Casino Luxembourg"

1225 Objecten van de Amerikaan se Kopiiste  Sturtevant en 23 Faiseurs d'histoires. De Morgen 23.07.99



"Sturtevant : Int./Ext. Visibilities" catalogue publisher, Galerie Thaddaeus Ropac, Paris-Salzburg

"Sequences A Collection of Prints", Publisher Edition Schellmann Munich ,catalogue

Jorg Bader , "L'Eternel Retour des Chefs-d'Oeuvres" , June 1998, # 236, Art Press

"International Avant-guarde Since 1960: The Paul Maenz Collection" (Sturtevant Vol. 1 and 11)

publisher : Neues Museum, Weimar, catalogue

Editions du Regard, Paul Ardenne "L'Âge Contemporain"



"Who's Who in American Art" 22nd Edition

Behrman Pryle "Stolen Images" Contemporary Visual Arts, Issue 15



"Shift" catalogue NGBK (Hg) Berlin Publisher

"Verliere dich" Der Spiegel Nr.21/20. 5'96

Vine Richard, "Louisiana Techno-Rave", Art in America

Der Spiegel, Nr. 20/20, May 96

Crow Thomas, "The Rise of the Sixties: American and European Art in the Era of Dissent"

Calmann & King Ltd. London

Cottingham Laura, "Now/Here" , Exhibition catalogue, Louisiana Museum of Modern Art

Fleck Robert, "La Criée", Exhibition catalogue, Criée Centre d'Art, Rennes

Lamarche-Videl, Le Brun Annie, Stephan Lucien, Sturtevant, "La Question du Double", Ecole des Beaux-Arts, Le Mans

Alain Cueff, Didier Ottinger, Pierre Stercks, Sturtevant, Verschaffez,"Magritte, les exercices Spirituels", Exhibition catalogue, Prestel-Verlag, Münich

Perrin Frank,"Collection collective", "La question du double", Exhibition catalogue, Musée des Beaux-Arts, Montreal



Eiblmayr Silvia, Fleck Robert, "Original", CANTZ Verlag, Ostfildern

Ziesche Angela,"Skulpturen, Objeke und Installationen von Kunstler innen de 20 Jahrbusderts"

DUMONT Buchverlag, Cologne



Fargier Jean-Paul, "Duchamp Corse", Le monde, 18 juillet

Isola Marina, "Mirror Image", TheMet, November 3

"Sturtevant Duchamp Nu Descendant un Escalier 1968", ZAPP Magazine, Video n°3, November



"Ansturm der Doppelganger" Der Spiegel 27/1993

Besacier Hubert, "Sturtevant" Arte Factum, 48/93

Salz Jerry, "Critics Diary" Art in America, September



Brunn Burkhard, "It's not Warhol, It's Sturtevant" ART POSITION, N° 19/20 May/August

Karcher Eva, "Spiegel der Utopia" Suddentsche Zeitung, N°. 198, August 28

Leturcq Armelle, "Elaine Sturtevant", (review) ART+TEXT N°.43 September

Rainer Wolfgant "Das Original Mal Zwei" Stuttgart Zeitung, 26 VI

Weingarten Susanne, "Klicken Im Kopf" der Spiegel 31



De Vries Gerd, (Hrsg /ed.) "Paul Maenz Koln, An Avant-Garde Gallery and the Art Of Our Time"

DUMONT Buchverlag, Köln

Felix Zdenek & Messler Norbert, "Denk Bilder" HIRMER Verlag GmbH, Munich

Le Foll, Joséphine. Maison Française, mars.

Zahm, Olivier. Artforum, mai.

Brutus Magazine, Japon, Mai.

Von Draten, Doris. "Der Dialog  mit dem Gleichen", Kunstforum, Januar/ Februar.



Kittelmann, Udo. "La peinture américaine des années 80:

Nouveau départ", Art Press, novembre.

Faust, Gretchen.Review, Arts Magazine, March.

Bauth, Reinhard. "Neues Aus Der New Yorker Szene", Magazine München, January.

Leigh, Chritian. "The New (& Improved) Good Old Days", Bijutsu Techno. March, vol.42 no.621.



Aming, Bill. "Sturtevant",  Journal of Contemporary Art.

"Art Wheel of Fortune", Avenue, February.

Bohnen, Uli. (review) Kunstforum, June.

Bohnen, Uli. (review)Kunst, April.

Groys, Boris."Verzicht auf den Mythos", Frankfurter Allegemeine Zeitung, no. 93 April.

Kipphoff, Petra. "Die Post Kommt immer zu Spät" Die Zeit, no.14 March.

Koether, Jutta. "Elaine Sturtevant at Paul Maenz", Artscribe, September/October.

Heartney, Eleanor. "Elaine Sturtevant at Bess Cutler", Art in America, March.

Leigh, Christian. "Art on the Verge of a Nervous Breakdown", Contemporanea, January/February.

Leigh, Christian. "Into the Blue", Art & Auction, May.

Leigh, Christian. "New Good Old Days", (exhibition catalogue), Galerie Paul Maenz, Cologne.

Leigh, Christian. "Opening Night at the Whitney Biennal", Contemporanea, July.

Leigh, Christian. The Silent Baroque, (exhibition catalogue), Galerie Thaddaeus Ropac, Salzburg.

Liu, Catherine. (review) Artforum, January.

Nemeczeck, Alfred. "Die Kunst Ist Gar Nicht So Frei", Art, July.

Messler, Norbert. "Sturtevant", Noema no. 24/25 Summer.

Schwendenwien, Jude. (review) Contemporanea, October. Stals, Jose Lebrero. (review) Lapiz  no. 59.

Sturtevant, Elaine. "Artist's Pages by Sturtevant", Museum Journal, Jaargang 34 2/3.

Sturtevant, Elaine. "Sturtevant Films" (Exhibition catalogue) "The Silent Baroque", Galerie Thaddaeus Ropac, Salzburg.

"Wolkenkratzer", Art Journal, March/April.

Wullten, Thomas. (review) Flash Art, June.



Albig, Jorg-Uwe."Erlich sind nur die Kopisten", Art , no.51, p.28.

Art, no. 11 November,p. 54.

Bohnen, Uli."Kommt Die Kunst von Kunst", Kunstforum, November/December,p. 341.

Cameron, Dan. "A Conversion with Leo Castelli and Elaine Sturtevant", Flash Art  no.143, November/ December.

Hahn, Christophe von, "Zynisms in der Kunst", Aschener Nachrichten, March 25.

Hentschel, Martin. "Homage-Demontage", Nike-New Art in Europe, July/August/September, p.35.

Leigh, Christian. "Complexity and Contradiction", (exhibition catalogue), Scott Hansen Gallery, New York.

Leigh, Christian. "I Teach You The Superman", "Sturtevant Drawings 1965-1988", (exhibition catalogue), Bess Cutler Gallery, New York.

Levin, Kim. (review) The Village Voice, no. 46, November 15.

Linker, Kate. (review) Artforum, January.

Morgan, Robert C. (review) Arts Magazine, January.

Muschampp, Herbert. "Elaine Sturtevant", "Sturtevant Drawings 1965-88" ibld.

Peters, Louis. "Im zeitniter der kopien und kopisyen", Atelier, March-April. pp 12-14.

Schwartz, Eugene. "Sturtevant Drawings 1988-1965", ibld.

Selwyn, Marc. "Los Angeles", Art & Auction, September.

Siachy, Ingrid. Thomas Mc Evilley. Lucas Samaras. "About this Issue: A Project for Artforum", Artforum, February.

Weschler, Lawrence. "Onward and Upward With The Arts. Value. A Fools Questions", The New Yorker, January 18, pp35-56.



"The Art Galleries", Los Angeles Times, October 16.

Bosis, Kathie. "At The Aldrich, a new perspective", Gannett Westchester Newspapers, June 14.

Larson, Kay. "Comedy of Mannerism", New York, August 24.

Leigh, Christian. Introduction to A Different Corner Definition And Redefinition, Painting in America, ed. by C. Leigh, Cuenca, Equador. Leigh, Christian."Painting is dangerous", "Sturtevant 1987"(exhibition catalogue), Stux Gallery, New York.

Levin, Kim. (review)Village Voice, November 10.

Ottman, Klaus. "Sturtevant's Paradox", "Sturtevant 1987", Ibid.

Ottman, Klaus. "Sturtevant: Stux",Flash Art.

Raynor, Vivan. "Art in Ridgefield Connecticut, A Post Abstract Show", The New York Times, June 26.

Rosenblum, Roberta. "Sturtevant", A Different Corner Definition And Redefinition, Painting in America, Ibid.

Schwartz, Eugene. "Post- Abstract Abstraction", (exhibition catalogue), Aldrich Museum, Ridgefield, Connecticut.

Smith, Roberta.(review) The New York Times, November 6.

Zimmer, William. "Post-Abstract Abstraction in Ridgefield", The New York Times, July 5.



Ferrer, Elizabeth and John Paoletti. "The Art of Appropriation", (exhibition catalogue), Alternative Museum, New York.

Indiana, Gary.(centerfold review) Village Voice, February 12.

Luris, David. (review) Arts Magazine, April.

Schwartz, Eugene and Douglas Davis. "A Double Take on Sturtevant", File Magazine, December.

Westfall, Stephen. (review) Art in America, October.



Bell, Jane. "On Sturtevant", Contemporary Artists, St. Martin's Press, New York.



Davis, Douglas. "Country Art and City Art", News Week, March 11.

Frank, Peter. "On Art", SoHo Weekly News, March 14.

Perrault, John."Crisco Chair on a Coattail Ride", Village Voice, March.



Harithas, James. Sturtevant (exhibition catalogue), Everson Museum, Syracuse, New York.



Nanteau, Oliver."Elaine Stutevant: Le Réalism Au Second Degré", L'Art Contemporain, March.



"Art for Art's Sake", Time, February 28.

Counoll, Lacoste, M. "Mai un Après Mai", Le Monde. May 15.

Duparc, Christiane. "Faites-le Vous-même", Le Nouvel Observateur, March 17.

Hahn, Otto. "Expositions Otto Hahn A Vous", L'Express, March 24.

Picard, Lil. "From ABC to Camp Art", Das Kunstwerk, November/December.

Restant, Pierre. "Paris: Crise et Critique du Langage", Domus, June.



Tono, Yoshiaki."Elaine Sturtevant", Bijutsu Techno, Vol.282, no. 5.



Conaday, John."Art Shows Worth Seeing", The New York Times, October 16.

Picard, Lil."Camp oder Die nimmermüde Phantasie", Die Welt, December 9.

Public and private collections

Vienna, Secession

MAMCO, Geneva

Weimar Neues Museum, Weimar

MOCA Los, Angeles

ARC, Paris

Stedelijk Museum, Amsterdam

ZKM, Karlsruhe

DAP, Paris

FRAC, Bretagne

MMK, Museum Fur Moderna Kunst, Frankfurt

Sintra Museum of Modern Art, Sintra

Musée d'Art Moderne de la ville de Paris

Walker Art Center, Minneapolis

Pinault Foundation

Whitney Museum of American Art, New York City