Louise Lawler focuses her camera on high art and its spaces, from the rarefied white cube to the windowless storeroom, from the collector's luxurious bedroom to the featureless boardroom. Part institutional critique, part social commentary and part wandering gaze, Lawler's glossy photographs redirect the viewer's attention from the artworks to their environs, exposing a set of supple relationships surrounding the presentation and marketing of art and its role in conferring and reflecting power. Lawler's emphasis on context as a defining factor in the assignment of an object's value throws her own sumptuous photographs into a state of eloquent suspension. In 1984, Lawler was granted access to the homes of visionary collectors Burton and Emily Tremaine, and she has since tracked the works she photographed there as they have wended their way through museums and auction houses. With texts by Stephen Melville and Andrea Miller-Keller, this publication gathers almost all the Tremaine Pictures produced between 1984 and 2007. Item details:
- 108 pages
- 9.8 x 9.7 x 0.4 inches
About Louise Lawler
Louise Lawler was born in Bronxville, New York, in 1947. She came to prominence in the 1980s with her own sophisticated and very postmodern brand of re-photographed artwork. She has had solo exhibitions at the Wadsworth Atheneum in Hartford, The Museum of Modern Art in New York, The Museum of Fine Arts in Boston, and the Hirshhorn Museum and Sculpture Garden in Washington D.C., among others. Lawler collaborated with Douglas Crimp on the seminal book The Museum's Ruins. She was a featured artist in our visual arts exhibition The Marfa Sessions.