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.Read More
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.
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