Born in Lakewood, Ohiom in 1930, Sturgevant produced works that had a strong relationship with the history of art. She was particularly engagedwith artists who left their mark on the twentieth century and whose innovations became a point of reference for those who followed. Sturtevant made ‘repetitons’ of their work, not by photographing or reproducing paintings, sculptures, films, performances or serigraphs: rather, she meticulously learned the original technniques. Sturtevant created copies of works of art but was not a copyist. She appropriated the ideas of others but was not an appropriator. She was a key figure in the years of feminism but was not a feminist artist. Her work was informed by a range of philosophical ideas – from reflections on the lives led by the followers of Plato and Pythagoras to the Stoicists’ views on eternal recurrence; from thoughts on the value of the work of art in the age of mechanical reproduction, to the simulacrum theories of Baudrillard, and Deleuze’s reflections on difference and repetition – Sturtevant’s work always raises questions on the reappropriation and meaning of originality in art.
Sturtevant’s work was previously shown at Palazzo Grassi in “Voice of images” (2014-15) and at Punta della Dogana in “In Praise of Doubt” (2011–2013) and "Slip of the Tongue" (2015-2016), "Luogo e Segni" (2019).