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Louise Lawler

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Louise Lawler Bibliographie / Bibliography Selected monographs and one-person catalogues 2018 Schor, Gabriele (ed.): 'Selected and Related: Works by Louise Lawler Aquired by the Sammlung Verbund Collection, Vienna and Others', The Sammlung Verbund Collection, Vienna. 2017 Marcoci, Roxana (ed.): 'Louise Lawler: Receptions', The Museum of Modern Art, New York. 2014 Baudoin, Tanja and Sven Lutticken (eds.): Louise Lawler: 'A Movie Will Be Shown Without the Picture', If I Can’t Dance I Don’t Want To Be Part Of Your Revolution, Amsterdam. 2013 Kaiser, Philip (ed.): 'Louise Lawler: Adjusted', Museum Ludwig, Cologne and Prestel Verlag, Munich, London, New York. Molesworth, Helen and Taylor Walsh (ed.): 'Louise Lawler', Essays and interviews by Andrea Fraser, Kate Linker, Rosalind Krauss, Douglas Crimp, Louise Lawler, Bruce Hainley, George Baker, Rosalyn Deutsche, Helen Molesworth and Stephen Melville, October files 14, MIT Press, Cambridge, MA, London, England. 2012 Elger, Dietmar (ed.): 'Louise Lawler and/or Gerhard Richter', Essay by Tim Griffin, Schirmer/Mosel Munich. 2008 Blondeau, Marc and Philippe Davet (eds.): 'Louise Lawler: The Tremaine Pictures 1984-2007', JRP Ringier, Zurich, Switzerland. 2006 Molesworth, Helen (ed.): 'Twice Untitled and Other Pictures (Looking Back)', Essays by Rosalyn Deutsche, Ann Goldstein, The MIT Press, Cambridge, MA. 2004 Kaiser, Philipp (ed.): 'Louise Lawler and Others', Essays by George Baker, Jack Bankowsky, Andrea Fraser, Isabelle Graw and Brigit Pelzer, Hatje Cantz, Ostfildern-Ruit, Germany. 2000 Crimp, Douglas: 'Louise Lawler: An Arrangement of Pictures, Aussouline', Paris and New York. 1998 'Emotion', Essays by Daniel Birnbaum, Carl Freedamn and Iwona Blazwick, Deichtorhallen Hamburg, Hamburg. Saxenhuber, Hedwig (ed.): 'A Spot on the Wall', Oktagon, Cologne. 1997 Lawler, Louise: 'Monochrome', Essay by Phyllis Rosenzweig, The Hirschorn Museum and Sculpture Garden, Washington, D.C. 1994 Lawler, Louise: 'For Sale', Essays by Dietmar Elger and Thomas Weski, Reihe Cantz, Leipzig. 1993 Crimp, Douglas: 'On the Museum's Ruins', MIT Press, Cambridge. 1986 Cameron, Dan: 'Art and Its Double: A New York Perspective', Fundacio Caixa de Pensions, Barcelona. Lawler, Louise and Claude Gintz: 'What is the Same' and 'The Same and the other in the Work of Louise Lawler', La Maison de la Culture et de la Communication de Saint-Etienne, Saint-Etienne, France. 1984 Miller-Keller, Andrea: 'Louise Lawler Matrix 77', Wadsworth Atheneum, Hartford, Connecticut. Katalogbeiträge (Auswahl) / Selected Catalogue Essays 2018 Jetzer, Gianni, Leah Pires and Bob Nickas: 'Brand New: Art and Commodity in the 1980s', Hirshhorn Museum, Washington, D.C. and Rizzoli Electa, New York, pp. 62-73, 76, 100, 152. Huberman, Anthony (ed.): 'Other Mechanisms', Secession, Vienna, p. 94. Trembly, Nicolas (ed.): 'THE SYZ Collection', JPR/Ringier, Zurich, pp. 140-143. 2017 Steininger, Florian und Verena Gamper (eds.): 'Remastered – The Art of Appropriation', Kunsthalle Krems, Austria, pp. 106-109. Meade, Fionn and Jordan Carter: 'Question the Wall Itself', Walker Art Center, Minneapolis, p. 15, 43, 96-97, 100, 232-243. Nesbit, Molly: 'Midnight –The Tempest Essays', Inventory Press, New York, pp.123-25, 132-34. 2016 Nickas, Bob: 'The Dept. of Corrections: Collected Writings 2007 – 2015', Karma, New York, p. 256-260. Bethenod, Martin (ed.): 'Pinault Collection 07', Pinault Collection, Paris, p. 95. Moloney, Ciara (ed.): 'KALEIDOSCOPE', Modern Art Oxford, Oxford, UK, pp. 112-115. Friedel, Helmut (ed.): 'Die Kerze – ein Motiv in der Zeitgenössischen Kunst', Museum Frieder Burda, Verlag der Buchhandlung Walther König, Cologne, pp. 80. Aigner, Carl and Nela Eggenberger (ed.): '5 x 5 Photo Tracks', Eikon, Vienna, Austria. Baur, Simon and Christian Fluri (ed.): 'Mein Lieblingswerk im Kunstmuseum Basel', Christoph Merian Verlag, Basel. Von Flemming, Victoria, Daniel Berndt and Yvonne Bialek (ed.): '(Post) Fotografisches archivieren. Wandel - Macht - Geschichte: Das fotografische Dispositiv', Band 2. Jonas Verlag, Kromsdorf/Weimar, Germany, pp. 215-216. Hoffmann, Jens (ed.): 'Animality', Marianne Goodman Gallery, New York, London and Paris, p. 94. Burton, Johanna, Shannon Jackson and Dominic Willsdon (eds.): 'Public Servants', The MIT Press, Cambridge, MA and London, pp. 8-13 Crimp, Douglas: 'Before Pictures', Dancing Foxes Press and University of Chicago Press, Chicago and London, p. 163, 269-272. Meuer, Joyce, (ed.): 'Art at Work – The JP Morgan Chase Art Collection', JPMorgan Chase & Co., New York, p. 95. Bramlette Reeves, Teresa: 'Pollock and Soup Tureen (Traced), 1984/2013: An Abbreviated Biography', in: 'Transitions: State of Being', edited by Sarah Higgings, Theresa Bramlette Reeves and Kristie Trepper, Bernard A. Zuckermann Museum of Art, Kennesaw, GA, pp. 16-22. Byers, Dan (ed.): 'The Artist’s Museum', ICA Boston and Delmonico Bools / Prestel, Munich, London, New York, pp. 112-121. Greenough, Sara: 'Photography Reinvented', The Robert E. Meyerhoff and Rheda Becker Collection, National Gallery of Art, Washington and Princeton University Press, pp. 57-59. Kunz, Stephan and Stefan Zweifel (eds.): 'Solo Walks', Bündner Kunstmuseum, Chur, Switzerland, p. 147. Allred, Ry (ed.): 'Collected', Pier 24 Photography, San Francisco, p. 98, 100, 125. Gassner, Hubertus (ed.): 'Eight Centuries of Art', Hamburger Kunsthalle, Hamburg, p. 251. Rutland, Beau; Burton, Johanna and Rachel Harrison: 'Rachel Harrison: G-L-O-R-I-A', The Cleveland Museum of Art, p. 113. Demand, Thomas and Chiara Costa (eds.): 'L’image Volee', Fondazione Prada, Milan, p. 47, 77. Crosby, Eric (ed.): 'Ordinary Pictures', Walker Art Center, Minneapolis, pp. 127-129. Augaitis, Daina; Grenville, Bruce and Stephanie Rebick (eds.): 'Mashup: The Birth of Modern Culture', Vancouver Art Gallery, p. 170. 2015 Michalka, Matthias (ed.): 'To Expose, to Show, to Demonstrate, to Inform, to Offer. Artistic Practices Around 1990', mumok – Museum Moderner Kunst Stiftung Ludwig, Wien, p. 89, 128-131. Wolin, Joseph R (ed): 'Open This End: Contemporary Art from the Collection of Blake Byrne', The Skylark Foundation, Los Angeles, p. 29. Husslein-Arco, Agnes and Mario Codognato: 'Sleepless: The Bed in History and Contemporary Art', 21er Haus des Belvedere, Vienna, p. 247. Figner, Susanne: 'Louise Lawler', in: 'Et in Arcadia Ego', Edited by Susanne Figner and Harald Kunde, Museum Kulturhaus Kleve. Milazzo, Richard: 'The Mannequin of History: Art After Fabrications of Critique and Culture', Franco Cosimo Panini Editore, Modena, p. 203. Roselione-Valadez, Juan (ed.): 'No Man’s Land: Women Artists from the Rubell Collection', Rubell Family Collection/ Contemporary Arts Foundation, Miami, pp. 136-137. Miller, Dana (ed.): 'Whitney Museum of American Art: Handbook of the Collection’, Whitney Museum of American Art, New York, p. 220. Luckow, Dirk (ed.): 'Picasso in Contemporary Art', Snoeck Verladgesellschaft mbH, Cologne, pp. 192- 193. 2014 Baldissera, Lisa, (ed.): 'Convoluted Beauty: In the Company of Emily Carr', Medel Art Gallery, Saskatoon, Canada, p. 104. Ruelfs, Esther and Sabine Schulze (eds.): 'Fette Beute – Reichtum zeigen', Museum für Kunst und Gewerbe, Bielefeld and Kerber, Berlin. Brown, Susanna (ed.): 'Horst: Photographer of Style', V&A Publishing, London, p. 278. Beard, Lee and Rebecca Morrill (eds.): 'The Twenty First Century Art Book', Phaidon Press Limited, London and New York, p. 152. 'Lawler, Louise: Michael, 2001', In 'Jeff Koons: A Retrospective', Edited by Scott Rothkopf, Whitney Museum of American Art, New York City, p. 117. 'Lawler, Louise: Foreground, 1994', In 'Jeff Koons: A Retrospective', Edited by Scott Rothkopf, Whitney Museum of American Art, New York City, p. 98. 'Lawler, Louise: Egg and Gun, At Large, 2008', In 'Jeff Koons: A Retrospective', Edited by Scott Rothkopf, Whitney Museum of American Art, New York City, p. 28. Hughes, Gordon: 'Resisting Abstraction', The University of Chicago Press, pp. 1-2. Ellegood, Ann and Johanna Burton (eds.): 'Take it or Leave it: Institution, Image, Ideology', Prestel, New York and the Hammer Museum, Los Angeles, p. 174. 2013 Fleming, Jeff: 'Louise Lawler', In 'Des Moines Art Center Collects', Edited by Lea Rosson Delong, Des Moines Arts Center, pp. 192-193. Faucon, Sébastien and Carine Fol: 'The Causes of Things', CNAP Centre national des arts plastiques, Paris, p. 42, 34. Day, Charlotte (ed.): 'Reinventing the Wheel: The Readymade Century', Monash Museum of Art, Caufield East, Australia. Molesworth, Helen and Taylor Walsh (ed.): 'Louise Lawler', Essays and interviews by Andrea Fraser, Kate Linker, Rosalind Krauss, Douglas Crimp, Louise Lawler, Bruce Hainley, George Baker, Rosalyn Deutsche, Helen Molesworth, and Stephen Melville, October files 14, MIT Press, Cambridge, Massachusetts, London, England. Wells, Rachel (ed.): 'Scale in Contemporary Sculpture', Ashgate Publishing, Surrey, England, p. 176, 119-120. Hafner, Hans-Jürgen: 'Das Beste vom Besten', Kunstverein Düsseldorf. 2012 De Boer, David, Eamonn Fox and Mary Grace Sanchez (eds.): 'Louise Lawler: Revealing Context', In 'Significant Ordinaries', University Art Museum, California State University, Long Beach. Molesworth, Helen: 'Louise Lawler: Just the facts', In: 'Interiors', Edited by Johanna Burton, Lynne Cook and Josiah McElheny. Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York and Sternberg Press, Berlin, pp. 18-21. Morineau, Camille and Annalisa Rimmaudo (eds.): 'elles@centrepompidou', Centre Pompidou, Paris, Seattle Art Museum, p. 57. Rosenthal, Mark et al.:
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  • Tate Papers Issue 12 2009: Lucy R. Lippard

    Tate Papers Issue 12 2009: Lucy R. Lippard

    Tate Papers Issue 12 2009: Lucy R. Lippard http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/lippa... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue Curating by Numbers Lucy R. Lippard Cultural amnesia – imposed less by memory loss than by deliberate political strategy – has drawn a curtain over much important curatorial work done in the past four decades. As this amnesia has been particularly prevalent in the fields of feminism and oppositional art, it is heartening to see young scholars addressing the history of exhibitions and hopefully resurrecting some of its more marginalised events. I have never become a proper curator. Most of the fifty or so shows I have curated since 1966 have been small, not terribly ‘professional’, and often held in unconventional venues, ranging from store windows, the streets, union halls, demonstrations, an old jail, libraries, community centres, and schools … plus a few in museums. I have no curating methodology nor any training in museology, except for working at the Library of the Museum of Modern Art, New York, for a couple of years when I was just out of college. But that experience – the only real job I have ever had – probably prepared me well for the archival, informational aspect of conceptual art. I shall concentrate here on the first few exhibitions I organised in the 1960s and early 1970s, especially those with numbers as their titles. To begin with, my modus operandi contradicted, or simply ignored, the connoisseurship that is conventionally understood to be at the heart of curating. I have always preferred the inclusive to the exclusive, and both conceptual art and feminism satisfied an ongoing desire for the open-ended.