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Louise Lawler subjects the concept of art to critical analysis by re-photographing her own drawings, paintings, and sculptures and incorporating aspects of their immediate surrounding into these "copies." Viewed with a certain detachment, her demystified reproductions also reveal the contextual and situational connotations of her artworks, which recede to a certain extent into the background. Lawler also applies these methods to the work of other artists, photographing their art pieces, particularly as they are mounted in private collections. These contextualizing photographs retain fragments of their surroundings, thus clarifying how the presentation and interpretation of artwork is never free of value judgment or environmental influence. This publication offers the first retrospective overview of the artistic accomplishments of Louise Lawler over the past 20 years. Included are a number of very recent works, some of them created especially for this book.
Published in conjunction with a major survey of the artist Louise Lawler, this catalogue charts the creative practice of one of the most influential artists working in the fields of picture-making and institutional critique. Since the 1970s, Lawler has expanded from a feminist position upon the legacy of institutional critique initiated by an earlier generation of Conceptual artists, including Marcel Broodthaers, Daniel Buren and Michael Asher, and methods of appropriation in parallel with certain artists of her generation, such as Sherrie Levine, Cindy Sherman, Sarah Charlesworth and Richard Prince. Engaging a variety of art-world positions, including that of artist, curator, fact-checker, publicist and photo editor, Lawler has distinguished herself as one of the most creative artists of our age. Presenting Lawler's multifaceted practice across mediums - photography, sound work, film, objects and mural-scale installations - this book offers new critical perspectives through eight essays by renowned scholars that unpack her tight, witty, thought-provoking work. The rich selection of plates comprehensively records the artist's practice to date and underscores the radical inventiveness of Lawler's practice. The performative nature of Lawler's practice is mirrored in the design of the book's dust jacket; when turned inside out, it features a signature Lawler picture as an 'adjusted to fit' poster. The book is an indispensable resource for anyone interested in late-20th and early-21st-century art.
For the past 20 years, Louise Lawler has photographed art as it is "presented" in private homes, museums, galleries, auction houses, public buildings, and museum and gallery storage areas. From an exhibition of Degas' masterpieces to an Andy Warhol installation, this book invites you to discover Lawler's unique vision of modern and contemporary art. She is fascinated by what "happens" to the art object after it leaves the artist's studio -- where it goes, how it's displayed, how it's valued, and what it means. Lawler shows how the environment that surrounds a piece of art affects our perception of it and how that perception, in turn, affects all aspects of the environment.
"What determines the significance of a work of art? Doe it abide eternally within the work? Or is it continually constructed and reconstructed from the outside, through the work's presentation? The historical shift from autonomous modernist object to postmodernist critique of institutions, from artwork to discursive context, is the subject of Douglas Crimp's essays and Louise Lawler's photographs in On the Museum's Ruins. Taking the museum as paradigmatic institution of artistic modernism, Crimp surveys its historical origins and current transformations. The new paradigm of postmodernism is elaborated through analyses of art practices broadly conceived--not only the practices of artists but also those of critics and curators, of international exhibitions, and of new or refurbished museums."--back cover.
Artwork by Louise Lawler. Contributions by Thomas Weski. Text by Dietmar Elger.
Who Says, Who Shows, What Counts invites readers to think critically about how artists, artworks, and museums engage with narratives of the past. Richly illustrated and written for a general audience, this book showcases the depth and breadth of more than fifty recent acquisitions to the Block Museum of Art's contemporary collection, including a wide-ranging selection of works by Dawoud Bey, Shan Goshorn, the Guerrilla Girls, Marisol, Kerry James Marshall, Catherine Opie, Man Ray, Cindy Sherman, Thomas Struth, Tseng Kwong Chi, and Kara Walker, among other artists. The book is a companion publication to the 2021 exhibition of the same name, presented to celebrate the museum's fortieth anniversary, and both draw inspiration from a work by conceptual artist Louise Lawler, Who Says, Who Shows, Who Counts (1990), and are organized around challenging questions of historical representation within artworks and institutions: How can art help us reflect upon, question, rewrite, or reimagine the past? Who has been represented in visual art, how, and by whom? How is history etched onto a landscape or erased from it? How do museums and dominant canons of art history shape our view of history and of the past? Who Says, Who Shows, What Counts demonstrates how an academic art museum's collection can facilitate multidisciplinary connections and tell stories about issues relevant to our lives.
An anthology of writings on exhibition practice from artists, critics, curators and art historians which address the contradictions posed by museum and gallery staged exhibitions, and the challenge of staging art presentations and displays.
An examination of the artistic development of Robert Rauschenberg, focusing on his relationship with John Cage and his role in the making of the American neo-avant-garde.
Artists: John Baldessari, Ericka Beckman, Dara Birnbaum, Barbara Bloom, Eric Bogosian, Glenn Branca, Tony Brauntuch, James Casebere, Sarah Charlesworth, Charles Clough, Nancy Dwyer, Jack Goldstein, Barbara Kruger, Jouise Lawler, Thomas Lawson, Sherrie Levine, Robert Longo Allan McCollum, Paul McMahon, MICA-TV (Carole Ann Klonarides and Michael Owen), Matt Mullican, Tom Otterness, Richard Prince, David Salle, Cindy Sherman, Laurie Simmons, Michael Smith, James Welling, Michael Zwack.