In the late 1960s, Sarah Charlesworth (1947–2013) studied with Douglas Huebler at Barnard, “just at the moment when he was abandoning the production of sculptural objects for a ‘dematerialized’ structure of photographic images and textural documentation.” Charlesworth saw the work of Lawrence Weiner and Joseph Kosuth in a legendary 1968 conceptual art show in Manhattan. She and Kosuth became partners, and she joined the staff of The Fox—“a seminal journal of art and critical theory with ties to the British collective Art & Language”—as an editor.

SARAH CHARLESWORTH: DOUBLEWORLD, the 2015 New Museum exhibition of this leading neo-conceptualist who “made subversive use of photography in order to show how images shape our perception of the world,” is on view at LACMA through the beginning of 2018.

The LACMA presentation was organized by Rebecca Morse.

SARAH CHARLESWORTH: DOUBLEWORLD, through February 4, 2018.

LACMA, 5905 Wilshire Boulevard, Los Angeles.

lacma.org/art/exhibition/sarah-charlesworth-doubleworld

sarahcharlesworth.net/

All quoted material above: Douglas Eklund, “The Jump: Appropriation and its Discontents,” in The Pictures Generation, 1974–1984, exh. cat. (New York: Metropolitan Museum of Art/New Haven, CT: Yale University Press, 2009), 144–145.

For info on The Fox and Art & Language, see:

specificobject.com/objects/info.cfm?object_id=3136#.WYuS29UrKUk

lissongallery.com/artists/art-language

Artwork: Sarah Charlesworth.