Description

Book Synopsis
Works by one of the most important artists working in America today—photographs, collaborative projects, ephemeral objects, and trenchant and witty institutional critique.

For the past two decades Louise Lawler has been taking photographs of art in situ, from small poignant black-and-white images of art in people's homes to large format glossy color pictures of art in museums and in auction houses. In addition she has produced a variety of objects—paperweights, etched drinking glasses, matchbooks, gallery announcements—all of which cleverly describe how art comes to accrue value as it moves through various systems of exchange. Lawler's oeuvre was essential in creating an expanded field for photography, it was crucial in postmodern debates over theories of representation, it remains indelible within the field of institutional critique, and it has always been trenchant and witty in its sustained commitment to a feminist vision of art, art history, and contempor

Twice Untitled and Other Pictures looking back

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    A Paperback / softback by Louise Lawler, Helen Molesworth

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      Publisher: MIT Press Ltd
      Publication Date: 15/09/2006
      ISBN13: 9780262622066, 978-0262622066
      ISBN10: 0262622068
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      Individual photographers

      Description

      Book Synopsis
      Works by one of the most important artists working in America today—photographs, collaborative projects, ephemeral objects, and trenchant and witty institutional critique.

      For the past two decades Louise Lawler has been taking photographs of art in situ, from small poignant black-and-white images of art in people's homes to large format glossy color pictures of art in museums and in auction houses. In addition she has produced a variety of objects—paperweights, etched drinking glasses, matchbooks, gallery announcements—all of which cleverly describe how art comes to accrue value as it moves through various systems of exchange. Lawler's oeuvre was essential in creating an expanded field for photography, it was crucial in postmodern debates over theories of representation, it remains indelible within the field of institutional critique, and it has always been trenchant and witty in its sustained commitment to a feminist vision of art, art history, and contempor

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