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Louise Lawler

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Louise Lawler
Born1947 (age 76–77)
Bronxville, New York,U.S.
EducationCornell University(BFA)
Occupation(s)Artist, Photographer
Years active1972–present

Louise Lawler(born 1947) is a U.S. artist and photographer living inBrooklyn,New York City.[1]Lawler’s work has focused on photographing portraits of other artists’ work, giving special attention to the spaces in which they are placed and methods used to make them. Examples of Lawler's photographs include images of paintings hanging on the walls of a museum, paintings on the walls of an art collector's opulent home, artwork in the process of being installed in a gallery, and sculptures in a gallery being viewed by spectators.

Along with artists likeCindy Sherman,Laurie SimmonsandBarbara Kruger,Lawler is considered to be part of thePictures Generation.[2]

Early life and education

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Lawler was born in 1947 inBronxville, New York.[3][4]She attendedCornell University,where she graduated with aBachelor of Fine Arts.

Career

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In 1969, after graduating from Cornell University, Lawler moved toManhattan,where she took a job at theCastelli Gallery.While there, she met Janelle Reiring, who went on to co-foundMetro PictureswithHelene Winerin 1980.[5]

Lawler has photographed pictures and objects in collectors’ homes, in galleries, on the walls of auction houses, and off the walls, in museum storage. Along with photography, she has createdconceptualandinstallation art.Some of her works, such as the "Book of Matches", are ephemeral and explore the passing of time, while others, such asHelms Amendment (963)(1989),[6]are expressly political. Lawler's work, in its diverse manifestations (installations, events, publications, souvenirs...) addresses or confronts prevailing systems of establishing art, taste and style.[7]She is, however, less interested in the original process of creating a work of art than in the context lying beyond the artist's sphere of influence and in which the work is subsequently situated.[8]Often framed asappropriation artorinstitutional critique,Lawler’s photographic work lays bare the day-to-day operations of the art world and its circulation and presentation of art works.[9]Her work is interested in the intersection of art and commerce.[10]

Birdcalls(1972/2008[11]) is an audio artwork that transforms the names of famous male artists into a bird song, parroting names such asArtschwager,Beuys,RuschaandWarhol,a mockery of conditions of privilege and recognition given to male artists at that time. The piece has been nicknamed “Patriarchal Roll Call.”[12]

During her time working at Castelli Gallery, Lawler was making paintings, artist’s books, prints, and photographs of her own. However, when she landed her first official gallery exhibition, in 1978 atArtists Space,she did not exhibit any of that work. Instead, she borrowed a small 1883 portrait of a horse fromAqueduct Racetrack— it had been hanging over a Xerox machine in the offices — and mounted it on an empty wall at the gallery. To highlight her appropriation, she installed two spotlights: one above the picture and another pointed out the window, at the building next door, hinting to sidewalk passersby that there was something of note going on upstairs.[5]This particular building was moreover a Citibank. It therefore added an economical meaning to the concept.[13]

In 1979, Lawler presentedA Movie Will Be Shown Without the Pictureat Aero Theater inSanta Monica, California.As the full-length soundtrack ofThe Misfitsplayed, the silver screen remained unremittingly blank.[14]A black card announcing the event stated the (self-explanatory) title of the work, and the venue and date of its screening. The artist has reprised the piece on a handful of occasions, including in 1983 at theBleecker Street Cinemain New York City (using the 1961 filmThe Hustlerand the 1957Bugs BunnycartoonWhat’s Opera, Doc?) as part of a show organized byRobert Barryat the downtown alternative spaceFranklin Furnacecalled “In Other Words: Artists Use of Language” and, in 1987, in theC.W. Post Collegein a show organized by Bob Nickas called “Perverted in Language.” The piece was also performed as part of West of Rome’s “Women in the City” series curated byEmi Fontanaat the Aero Theater in 2008,[15]and in Amsterdam in 2012 at The Movies theater withSaturday Night Fever(1977). In 1994, Lawler createdForeground,and presented it in Tate Gallery in 2009.[16]

Lawler developed her individual style during the early 1980s, a time of intense growth in the overall economy and in the art market.[1]In 1981 Lawler had her first West Coast gallery solo exhibition atJancar Kuhlenschmidt Galleryin Los Angeles. In 1982, for her first solo exhibition at Metro Pictures, Lawler showed a small suite of artworks pulled from the gallery’s stockroom. The pieces were to be sold together, as a single work calledArranged by Louise Lawler,and it was priced at the literal sum of its parts, plus an extra 10 percent commission for Lawler; the piece did not sell.[5]

Lawler's greatest coup came in 1984, when she was granted full access to theNew York CityandConnecticutresidences of twentieth-century collectors Burton andEmily Hall Tremaine.This opportunity occurred on the occasion of the 1984 Tremaine Collection exhibition, and Lawler was again invited to take photos of some artworks in that context. Further, this occurred just a few years before a significant part of their collection was auctioned atChristie'sin 1988, and Lawler was permitted to take photos of some of the Tremaine works at auction.[17]In this series of work, Lawler photographedJackson Pollock'sFrieze(1953–55) and the filigree of a Limoges soup bowl in the Tremaines' New York dining room.[18][19]InLiving Room Corner, Arranged by Mr. & Mrs. Burton Tremaine, New York City(1984),Robert Delaunay'sPremier disque(1912) hangs above a television and aRoy Lichtensteinbust,Ceramic head with blue shadow(1966), which has been turned into a lamp, and seems to stare up and outward. The location was the Tremaines' New York living room.[20][19]Another work in this series isMonogram(1984), taken in a bedroom in the Tremaines' New York apartment, the monogram "ETH" being Emily Hall Tremaine, withJasper JohnsWhite flag(1955–58) photographed over the bed.[19]The pieces place valuable works among household objects, exploring how environments shape our "reading" of art.[21]

Regarding other works,Fragment/Frame/Text (#163)(1984), Lawler photographed a museum wall label next to a landscape painting byClaude Lorrain;only a fragment of the landscape appears in the photo.[22]InForeground(1994), a gelatin silver print showing an open-plan living area in the Chicago apartment of art collectorStefan Edlis,Jeff Koons'Rabbit(1986) can be seen next to a refrigerator.[23]By manipulating the focus and the view-finder of the camera, Lawler demonstrated how an artwork is determined by the paradigms of the art world: A label on the wall of an auction house would become the focus of an image, with only a small fraction of the work itself visible, and the idea of the artwork as a commercial entity would be brought to mind.

Photographing atArt BaselandArt Basel Miami Beachfairs, the Museum of Modern Art, Christie's and various galleries, Lawler later presented a behind-the-scenes view of art: the hoisting of aRichard Serrasculpture attended by uniformed handlers; white-gloved hands carefully transporting aGerhard Richterpainting;Maurizio Cattelan's giant Picasso head swathed in plastic sitting on the floor behind its disconnected body; another Richter painting lying on its side propped against the wall, its public exposure at MoMA at an end; aDamien Hirstspin-painting glimpsed through a closet door. Lawler titled her 2004 survey show at Museum für Gegenwartskunst in Basel "Louise Lawler and Others" in acknowledgement of the artists whose artworks she photographs.[24]Lawler createdNot the way you remembered (Venice)for the exhibition "Sequence One: Painting and Sculpture from the François Pinault Collection (2006–07)"; rather than contributing discrete artworks, these photographs were taken of the exhibition’s early installation process in Venice,[25]depicting works of art in their shipping crates, besides pieces of foam or bubble wrap.[26]

Recent projects

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For a site-specific collaboration with fellow artistLiam GillickatCasey Kaplan Galleryin 2013,[27]Lawler contributed a long vinyl wall sticker that linked the three rooms of the gallery. The image printed on it was a stretched-out version of some of her earlier photographs of artworks in bland white-box settings; here, pieces byEdgar Degas,Richard SerraandGerhard Richter,among others, were distorted beyond recognition[28]into unrecognisable streaks of colour.[29]

For the 15th installation in a series of artist-designed 25-by-75-foot billboards at theHigh Line,Lawler createdTriangle (adjusted to fit)(2008/2009/2011), an image photographed in a room atSotheby'sauction house in New York, and itself featuring works by artistsDonald Judd,Frank StellaandSol LeWitt.[30]

Exhibitions

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Lawler has had one-person exhibitions at theMuseum of Modern Art,New York (2017);Museum Ludwig,Cologne (2013);Wexner Center for the Arts,Columbus, Ohio (2006);Dia:Beacon,Beacon, New York (2005); the Museum für Gegenwartskunst, Basel (2004);Portikus,Frankfurt (2003); theHirshhorn Museum and Sculpture Garden,Washington, D.C. (1997); andThe Museum of Modern Art,New York, New York (1987).[10]Her work has recently been featured in exhibitions at theArt Institute of Chicago,theStedelijk Museumin Amsterdam, the Museum of Fine Arts in Ghent, Belgium, and theWhitney Museum of American Artin New York, which included her in its 1991, 2000, and 2008 biennials.[31]Lawler's work was included indocumenta 12,Kassel, Germany. Lawler has regularly presented her work in non-art contexts that employ "ordinary" means of presentation, distribution and interpretation.[7]

Lawler has been represented byMetro Pictures,New York, since 1982.[32]She is also represented byYvon Lambert Gallery,[33]Paris, and bySprüth Magers,Berlin.

Collections

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Pieces by the artist are in the collections of theMuseum of Modern Art,theWhitney Museum of American Art,theGuggenheim Museum,LACMA;Museum of Contemporary Art, Los Angeles;Art Institute of Chicago;Museum of Fine Arts,Boston;Walker Art Center,Minneapolis;Tate Britain,London;Centre Georges Pompidou,Paris;Israel Museum,Tel Aviv; Kunsthalle Hamburg;Moderna Museet,Stockholm;Museet for Samtidskunst,Oslo;Museum Boymans-van Beuningen,Rotterdam; andYale University Art Gallery,New Haven, Connecticut.[31]

Art market

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Estimated at $40,000 to $60,000, Lawler's photographMonogram Arranged by Mr. and Mrs. Burton Tremaine, New York City 1984,a photograph of a perfectly made bed withJasper Johns's famousWhite Flag(1955–1958) hanging above it, sold for $125,600, a record for the artist, in 2004.[34]

Books

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Artists' books

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  • 1981 Passage to the North, a structure by Lawrence Weiner and photographs by Louise Lawler, New York: Tongue Press
  • 1978 Untitled, Black/White, (text by Janelle Reiring), New York
  • 1978 Untitled, Red/Blue, New York
  • 1972 Untitled, (with Joanne Caring), New York: The Roseprint Detective Club

Books

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  • Louise, Lawler (2006).Twice Untitled and Other Pictures (looking back).The MIT Press.ISBN0-262-62206-8.
  • Louise Lawler and Others,Hatje CantzVerlag, 2004,ISBN3-7757-1420-0
  • Louise Lawler: An Arranagement of Pictures,(essay by Johannes Meinhardt, interview with Louise Lawler by Douglas Crimp), Assouline, Paris/ New York, 2000
  • Louise Lawler, Monochrome,(essay by Phyllis Rosenzweig), Washington: Hirschorn Museum and Sculpture Garden, 1997
  • Louise Lawler – For Sale,(essays by Dietmar Elger, Thomas Weski), Leipzig: Reihe Cantz, 1994

References

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  1. ^abLouise LawlerSkarstedt Gallery, New York.
  2. ^Douglas Eklund,Heilbrunn Timeline of Art History: The Pictures GenerationMetropolitan Museum of Art, New York.
  3. ^"2008 Whitney Biennial: Louise Lawler",The Whitney Museum, Retrieved June 29, 2014
  4. ^Great Women Artists.Phaidon Press. 2019. p. 234.ISBN978-0714878775.
  5. ^abcRachel Wolff (May 1, 2011),Impressive Proportions: Louise Lawler photographs great art—then treats it like taffyNew York Magazine.
  6. ^Roberta Smith(December 8, 1989),Julian Schnabel's Mantra: Stop Ruining the WorldNew York Times.
  7. ^abLouise Lawler: Arrangements of Pictures, November 20 – December 18, 1982ArchivedOctober 16, 2011, at theWayback MachineMetro Pictures, New York.
  8. ^Louise Lawler: Probably not in the show, March 22 - April 27, 2003ArchivedDecember 3, 2013, at theWayback MachinePortikus,Frankfurt am Main.
  9. ^stedelijk @ if i can’t dance - louise lawler, June 12, 2012ArchivedMarch 12, 2017, at theWayback MachineStedelijk Museum,Amsterdam.
  10. ^abGrosenick, Uta; Becker, Ilka (2001-01-01).Women Artists in the 20th and 21st Century.Taschen.ISBN9783822858547.
  11. ^The bird calls were installed at the Huntington Library, Art Collections and Botanical within their Gardens Bamboo Garden in 2008 as part of the public art showcase titled Women in the City, curated by Emi Fontana and produced by West of Rome Public Art.
  12. ^Jerry Saltz(May 25, 2008),The Art World’s Space InvaderNew York Magazine.
  13. ^Alberro, Alexander (2009).institutional critique, an anthology of artists' writings.London, England: MIT Press. pp. 292–298.ISBN978-0-262-01316-1.
  14. ^Morgan, Susan (27 January 2008)."Sex in the City".The New York Times.
  15. ^Link to New York Times Magazine article "Sex in the City" on the "Women in the City" project in 2008
  16. ^Tate."Foreground, Louise Lawler 1994 | Tate".Tate.Retrieved2017-04-11.
  17. ^Rita Reif (September 8, 1988),Christie's to Auction Works From Two Art CollectionsNew York Times.
  18. ^Louise Lawler,Pollock and Tureen, Arranged by Mr. and Mrs. Burton Tremaine, Connecticut(1984)Metropolitan Museum of Art, New York.
  19. ^abc(March 15, 2019).Louise Lawler. The Tremaine pictures. List of photoworks (2007).artdesigncafe.Retrieved May 19, 2019.
  20. ^Bruce Hainley,Louise LawlerArchived2008-12-01 at theWayback MachineFrieze,Issue 56, January–February 2001.
  21. ^Art and feminism.Reckitt, Helena., Phelan, Peggy. London: Phaidon. 2001.ISBN9780714847023.OCLC48098625.{{cite book}}:CS1 maint: others (link)
  22. ^Martha Schwendener (September 19, 2013),Monuments of a Postindustrial LandscapeNew York Times.
  23. ^Louise Lawler,Foreground(1994)Tate Collection, London.
  24. ^Louise Lawler: Looking Forward, October 30 – December 23, 2004ArchivedOctober 16, 2011, at theWayback MachineMetro Pictures, New York.
  25. ^Louise LawlerWhitney Biennial 2008.
  26. ^Louise LawlerArchived2013-12-03 at theWayback MachinePalazzo Grassi,Venice.
  27. ^Liam Gillick/Louise Lawler, November 1 – December 21, 2013Casey Kaplan Gallery,New York.
  28. ^Karen Rosenberg (November 21, 2013),Liam Gillick / Louise LawlerNew York Times.
  29. ^Pei-Ru Keh (November 4, 2013),Artists Liam Gillick and Louise Lawler's work comes together at Casey Kaplan in New YorkWallpaper.
  30. ^Graham Bowley (August 19, 2014),A Louise Lawler Billboard for the High LineNew York Times.
  31. ^abLouise Lawler: Fitting at Metro Pictures, May 6 – June 11, 2011ArchivedOctober 16, 2011, at theWayback MachineMetro Pictures, New York.
  32. ^Louise Lawler: Sucked In, Blown Out, Obviously Indebted or One Foot in Front of the Other, May 9 – June 7, 2008ArchivedApril 13, 2015, at theWayback MachineMetro Pictures, New York.
  33. ^Yvon Lambert
  34. ^Carol Vogel (November 9, 2004),An Appropriate Finale for a $9.2 Million AuctionNew York Times.
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