Thanks for subscribing! Look out for your first newsletter in your inbox soon!
Get us in your inbox
Sign up to our newsletter for the latest and greatest from your city and beyond
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
At age 82, Elaine Sturtevant has reached the pinnacle of a career five decades in the making. When she first exhibited in New York in 1965, her exacting replicas of works by Beuys, Duchamp, Warhol and other artists were greeted with puzzlement and ridicule. A decade later, appropriation art and the concept of the simulacrum were all the art-world rage, and Sturtevant was suddenly seen as a prophet. Her debut at GBE (making her the gallery's second octogenarian artist, alongside painter Alex Katz) overlaps with a retrospective at Stockholm's Moderna Museet.
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
🙌 Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!