Louise Lawler (*1947) is a key figure of the Pictures Generation of appropriation art. At the heart of her body of work are photographs of other artists' works as displayed in museums, storage spaces, auction houses, and collectors' homes. She uses photography as a conceptual tool and way of directing attention to things that are tacit and unspoken—the constraints, rules, and economies of the loose system that governs the art world. The Brooklyn-based artist has been associated with the gallery since 1987.Read More
Louise Lawler (*1947, Bronxville, NY) lives in Brooklyn, New York. Selected solo exhibitions include Art Institute of Chicago, Chicago (2019), Sammlung Verbund, Vienna (2018), MoMA, New York (2017), Museum Ludwig, Cologne (2013), Albertinum, Dresden (2012), Wexner Center for the Arts, Columbus, Ohio (2006), Dia:Beacon, New York (2005), and Museum for Gegenwartskunst, Basel (2004). Selected group exhibitions include Walker Art Center, Minneapolis (2019, 2016, 2012, 2009, 2003), Institute of Contemporary Art, Boston (2006, 2004, 1991, 1988), MoMA, New York (2019, 2010, 1999), MoMA PS1, New York (2019, 2015) MUMOK, Vienna (2015, 2011), Hammer Museum, Los Angeles (2014, 2003) and the Whitney Museum, New York (2013, 2002, 2001, 2000), which additionally featured the artist in its 1991, 2000, and 2008 biennials.
Text courtesy Sprüth Magers.
Gallery Weekend Berlin launches its second event of the year with galleries presenting artists whose work is lesser known to the broader public.
The works in the collection and in the 'Chaos' show reflect the actual reality of the world. I just felt that given what's going on right now, we needed to do a show like this.
Biennials are inherently messy. Gathering hundreds of pieces by international artists working in different mediums creates an exponential number of echoes and dissonances. Their messiness differs, though, in kind and degree, as exemplified in recent Shanghai Biennales.
It's a tight, close-up, black-and-white shot taken with a wide aperture, and the print itself is small: just three by six inches. In the centre of the picture is an ashtray, and inside it, a book of m
The year is 1994. The journal October dedicates its pages to 'The Duchamp Effect,' a special issue that codifies the French artist-trickster's influence on contemporary art. Interviews with Louise
Louise Lawler is one of the great light-heavyweights of the 1980s Pictures Generation, an artist of stealth, wit and elegant understatement, adept at playing the art world against itself. Her uncanny
As the lights of the movie theater begin to dim and people shuffle to their seats, no image appears. The sound of the movie begins to emerge from the theater's speakers, but without its visual accompa