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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Mandy El-Sayegh: Productive Ambiguity Ocula Conversation Mandy El-Sayegh: Productive Ambiguity

Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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Louise Lawler

b. 1947, USA

Louise Lawler completed her Bachelor of Fine Arts at Cornell University in 1969 before establishing a practice which led her to become part of the group of artists known as The Pictures Generation. This also included artists such as Cindy Sherman, Barbara Kruger, and Sherrie Levine. Lawler continues to live and work in New York.

Lawler photographs other works of art, concentrating on their setting, the way in which they are presented, and their methods of creation. The resultant works are often considered to be conceptual and address the art world and its establishments by questioning what factors constitute and define a piece of art. Her oeuvre offers a behind the scenes look at the happenings of the art world through her photographs at art fairs, galleries, collectors homes, and auction houses such as Christie’s.

The artist uses her method of photography to comment on the status of material goods as measures of financial and cultural wealth and employs the work of other artists as her subject matter to bring to attention the difficulty of originality in contemporary society. Lawler’s works challenge the notions of authenticity and authorship.

Solo exhibitions of the artist’s work have included Adjusted at Museum Ludwig, Cologne, Germany (2013); No Drones at Sprüth Magers, Berlin (2015); Fitting at Metro Pictures at Metro Pictures, New York (2011); and Later at Yvon Lambert, Paris (2010). Lawler has exhibited at major institutions including the Metropolitan Museum of Art, New York; the National Museum of Art, Oslo; and the Musée d’Art Moderne de la Ville de Paris. Lawler has presented work at two Whitney Biennials.

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Featured Artworks

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Three Sizes in Twelve Colors (S) by Louise Lawler contemporary artwork
Louise LawlerThree Sizes in Twelve Colors (S), 1994/2019 Digital Fujiflex print face mounted to Plexiglas on 3/4 inch plywood
15.2 x 18.1 cm
Metro Pictures
Three Sizes in Twelve Colors (L) by Louise Lawler contemporary artwork
Louise LawlerThree Sizes in Twelve Colors (L), 1994/2019 Digital Fujiflex print face mounted to Plexiglas on 3/4 inch plywood
20.3 x 24.4 cm
Metro Pictures
Corner (distorted for the times, perturbée) by Louise Lawler contemporary artwork
Louise LawlerCorner (distorted for the times, perturbée), 2014/2018 Digital Fujiflex print face mounted to Plexiglas on museum box
66 x 54.3 cm
Sprüth Magers
Citron by Louise Lawler contemporary artwork
Louise LawlerCitron, 2001/2018 Direct cibachrome face mounted to Plexiglas on museum box
119.4 x 88.9 cm
Metro Pictures
Big (traced) by Louise Lawler contemporary artwork
Louise LawlerBig (traced), 2002/2003/2016 adhesive wall material
Metro Pictures
Formica (adjusted for the wall, Metro Pictures, FIAC, distorted for the times, slippery slope 1) by Louise Lawler contemporary artwork
Louise LawlerFormica (adjusted for the wall, Metro Pictures, FIAC, distorted for the times, slippery slope 1), 2011/2012/2015/2017 Fujiflex print face mounted to Plexiglas on museum box
36.75 x 51.5 inches
Metro Pictures
Formica (adjusted for the wall, Metro Pictures, Frieze, distorted for the times, slippery slope 2) by Louise Lawler contemporary artwork
Louise LawlerFormica (adjusted for the wall, Metro Pictures, Frieze, distorted for the times, slippery slope 2), 2011/2012/2015/2017 Fujiflex print face mounted to Plexiglas on museum box
36.75 x 31.5 cm
Metro Pictures

Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, Eau de Cologne at Sprüth Magers, Berlin
Closed
26 March–12 April 2019 Group Exhibition Eau de Cologne Sprüth Magers, Berlin
Contemporary art exhibition, Louise Lawler, No Drones at Sprüth Magers, Berlin
Closed
5 November 2014–17 January 2015 Louise Lawler No Drones Sprüth Magers, Berlin

Represented By

In Ocula Magazine

Bob Rennie Ocula Conversation Bob Rennie Collector

In Vancouver's Chinatown, an area wedged between the gleaming office towers of the city's affluent West End and the city’s poorest neighbourhood, Downtown Eastside, is a gallery showcasing work from one of the world’s leading private collections.Housed in a restored iteration of Chinatown’s oldest building, the...

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Ocula Report: The Tenth Shanghai Biennale Ocula Report Ocula Report: The Tenth Shanghai Biennale 12 Dec 2014 : Sam Gaskin for Ocula

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.

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In Related Press

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Adjusted to fit: on Louise Lawler at MoMA Related Press Adjusted to fit: on Louise Lawler at MoMA The Art Newspaper : 7 July 2017

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 matches. Across the book, three unpunctuated words appear in sharp focus—WHY PICTURES NOW—which brings into relief the focal blur from...

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LOUISE LAWLER: KINDLING Related Press LOUISE LAWLER: KINDLING Art in America : 1 June 2017

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 Lawler and Sherrie Levine—peers, early collaborators, and artists grouped with the 'Pictures Generation'—are especially notable for the sharp...

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Louise Lawler’s Stealth Aesthetic (and Muted Aura) Related Press Louise Lawler’s Stealth Aesthetic (and Muted Aura) The New York Times : 11 May 2017

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 photographs of artworks in their natural habitats, and her carefully worded aphorisms can bruise, but ever so gently. Her love of...

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Louise Lawler Screens a Movie with No Images Related Press Louise Lawler Screens a Movie with No Images Hyperallergic : 6 May 2017

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 accompaniment it seems somehow louder and harsher. The effect is disorientating and confusing. Despite there being no image on the screen and knowing that...

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