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Read a Free Sample For the past forty years, Louise Lawler has raised questions Contributors about art—about the circumstances that produce it, its circula- tion, and the institutional frameworks in which it appears. Many of the ideas that arise out of her work relate to theories of recep- Roxana Marcoci is Senior Curator in the Department of tion, the belief that the meaning of an artwork shifts and morphs Photography, The Museum of Modern Art, New York. depending on who looks at it and where it is seen. As the title of this publication suggests, many kinds of reception are possible. Rhea Anastas is Associate Professor in the Department of Art In the eight essays in Receptions, renowned cultural thinkers Louise Lawler at University of California, Irvine. unpack Lawler’s witty and provocative art, while a generous plate section documents her images, installations, and films. A Mieke Bal is Professor Emeritus in Literary Theory at University selection of the ephemera she has designed, ranging from gallery of Amsterdam and a cofounder of Amsterdam School of announcements and posters to magazine covers and match- Cultural Analysis. books, reflects her interest in how art reaches viewers beyond the museum and gallery system. The design of the book’s jacket Douglas Crimp is Fanny Knapp Allen Professor of Art History is a typically ingenious Lawler production: when turned inside at University of Rochester, New York. out, it becomes what she calls an “adjusted to fit” work—one of her photographs reformatted to fill the space available. Rosalyn Deutsche is Term Professor of Modern and Contemporary Published in conjunction with the exhibition Louise Lawler: Receptions Art at Barnard College and Columbia University, New York. WHY PICTURES NOW, at The Museum of Modern Art, this volume explores the artist’s career from its beginnings to the Diedrich Diederichsen is Professor of Theory, Practice and present. In our contemporary atmosphere of political theater, Communication of Contemporary Arts at Akademie der bildenden shocking wealth disparity, and commodity culture, the insight, only. Künste, Vienna. resistance, and sly commentary of Lawler’s work feels as poignant and corrective as it has ever been. David Platzker is Curator in the Department of Drawings and Prints, The Museum of Modern Art, New York. Julian Stallabrass is Professor of Modern and Contemporary Art purposesdistribution. at The Courtauld Institute of Art, University of London. reviewwide or for releasedpublication for PDF Not MARCOCI Louise Lawler Receptions Jacket, exterior: Berlin (traced). 2000/2013. Dimensions variable Jacket, interior: Big (adjusted to fit). 2002/2003/2016. Dimensions variable 256 pp.; 216 reproductions Published by The Museum of Modern Art 11 West 53 Street New York, New York 10019-5497 www.moma.org Printed in Slovenia only. purposesdistribution. reviewwide or for releasedpublication for PDF WHY PICTURES NOW Not only. purposesdistribution. reviewwide or for releasedpublication for PDF Not only. purposesdistribution. reviewwide or for releasedpublication for PDF Not only. purposesdistribution. reviewwide or for releasedpublication for PDF Not only. purposesdistribution. reviewwide or for releasedpublication for PDF Not Louise Lawler Receptions The Museum of Modern Art, New York ROXANA MARCOCI Contents Foreword 17 Glenn D. Lowry An Exhibition Produces 20 Roxana Marcoci Property and Community in the Recent Work 32 Rhea Anastas Deceptions: “yes, but”, “re-”, “huh?”, “post-”, “oh yes!” 42 Mieke Bal WAR IS TERROR 52 Douglas Crimp Louise Lawler’s Play Technique 62 Rosalyn Deutsche More Jokes about Autonomy and the Private Sphere 72 Diedrich Diederichsen only. Object Confusion: Louise Lawler’s Printed Matter 82 David Platzker Lawler’s Victory 92 Julian Stallabrass purposesdistribution. Plates 101 Exhibition History 232 wide Bibliography 238 review Index 248 or Acknowledgments 252 for Trustees of The Museum of Modern Art 255 releasedpublication for PDF Not p.2-3: Pollock and Tureen (traced). 1984/2013. Dimensions variable p.4: Hand on Her Back (traced). 1997/1998/2013. Dimensions variable p.5: Still Life (Candle) (traced). 2003/2013. Dimensions variable p.6: Closer than You Thought (traced). 2004/2005/2013. Dimensions variable p.7: Dots and Slices (traced). 2006/2013. Dimensions variable p.8-9: Salon Hodler (traced). 1992/1993/2013. Dimensions variable p.10: Pollyanna (traced). 2007/2008/2013. Dimensions variable p.11: Untitled (traced). 2006/2013. Dimensions variable p.12: Why Pictures Now (traced). 1981/2013. Dimensions variable Foreword The Museum of Modern Art is proud to present Louise Lawler: WHY PICTURES NOW, the first New York survey of the artist’s creative output. Over the past forty years, Lawler’s work has been extraordinarily porous, generative of new theories of representa- tion, and inextricably linked to questions related to institutional framing and the life of the work within the art system. Through her witty, complex, and analytical pictures, Lawler has questioned the cultural circumstances that support art’s production and recep- tion. Her feminist viewpoint and her exchanges and partnerships with other artists, woven into the fabric of these issues, has invited us to rethink the ways in which we value what we see, opening not only her own work but art history as a whole. Lawler first exhibited at The Museum of Modern Art thirty years ago, in the 1987 exhi- bition Enough. Projects: Louise Lawler, and today we are honored to bring her remarkably prescient and diverse body of works—her photographs, installations, film screenings, objects, tracings, “adjusted to fit” works, and ephemera—back to her hometown. Roxana Marcoci, Senior Curator, Department of Photography, has engaged in a three-year collaboration with the artist to concep- tualize an exhibition and a book befitting their subject. I applaud only. her and the talented staff who worked with her, especially Kelly Sidley, Curatorial Assistant, to realize this major project. This inspir- ing publication, the most comprehensive volume of Lawler’s work to date, brings together a group of exceptional essays by Roxana, Rhea Anastas, Mieke Bal, Douglas Crimp, Rosalyn Deutsche, Diedrich Diederichsen, David Platzker, and Julian Stallabrass. Each purposes of these authors has taken a unique approach in writing about distribution. Lawler’s contributions to contemporary art, providing insights that enrich our understanding of her profound and challenging legacy. My gratitude is due to the organizations and individuals who wide have generously underwritten this presentation, including the Andy review Warhol Foundation for the Visual Arts; The Modern Women’s Fund; or and David Dechman and Michel Mercure. In the period leading for to this exhibition, the Museum has strengthened its holdings of Lawler’s work, and we are very grateful to those who have sup- ported these acquisitions, including Glenn and Amanda Fuhrman, Nathalie and Jean-Daniel Cohen, Charles Heilbronn, The Modern Women’s Fund, and The Contemporary Arts Council. This exhibition and publication reflect Lawler’s creativity and releasedpublication its prolific effects in every detail of their design. Above all I thank Louise Lawler for the generosity of her time and thought as she for met the countless demands of this ambitious project. We are PDF grateful that she has entrusted MoMA with her work and allowed us to share her artistic vision with a broad audience that we are Not certain will be responsive to it. —Glenn D. Lowry Director The Museum of Modern Art, New York 17 only. purposesdistribution. reviewwide or for releasedpublication for PDF Not 18 19 An Exhibition Produces* “Art is no longer being produced, but only watched,” mused the structures of spectatorship and other modes of address by Martin Kippenberger in an extended interview with the artist which art seeks a rapport with its audiences, she has formed her Roxana Marcoci and musician Jutta Koether over 1990 and 1991. “Simply to practice around the idea that the meaning of a work is consti- hang a painting on the wall and say that it’s art is dreadful. The tuted in the process of its reception: “The work can never be whole network is important!”1 The curator Ann Goldstein has determined just by what I do or say. Its comprehension is facil- perceptively noted that Kippenberger understood that “neither itated by the work of other artists and critics and just by what’s work nor artist was autonomous” but instead function within an going on at that time.”9 This is not to say that Lawler concedes interdiscursive network that includes the role of the spectator.2 authorial agency; rather, she frees art from delimiting logics, He explicitly admired the practice of several American women making it more permeable and therefore opening its meaning to artists whose work explored the undoing of the myth of the artist a wider context of cultural and political forces. as sui generis prodigy, and in the interview’s first sentence he Her work is frequently relational and defiantly feminist. In singled out Louise Lawler as “the most important woman” and 1971, when the curator and publisher Willoughby Sharp invited an “expert” on this phenomenon.3 twenty-seven male artists to produce objects or performances Lawler has sabotaged the idea of artistic expertise and other on a vacant section of New York City’s Hudson River waterfront forms of authorial authority throughout her career. Kippenberger for Pier 18, Lawler assisted several of the artists.10 Leaving the first encountered her work in 1984, when he came to New York to pier one evening with her friend Martha Kite, walking home on show with Werner Büttner and Albert and Markus Oehlen at Metro deserted streets and trying to avoid undesired attention, she and Pictures, where Lawler had presented her first solo exhibition two Kite began chanting “Willoughby! Willoughby!,” a kind of birdlike years earlier.4 That installation, titled Arrangements of Pictures, signal to keep assailants away. This tactic led to Lawler’s sound consisted of three types of groupings: works by the gallery’s piece Birdcalls (1972/1981, fig.
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