Louise Lawler: WHY PICTURES NOW

(Saturday) (Sunday)

Exhibition. April 30–July 30, 2017. WHY PICTURES NOW, the first New York museum survey of the work of American artist Louise Lawler, is an exploration of her creative output, which has inspired fellow artists and cultural thinkers alike for the past four decades. The exhibition consists of a sequence of mural-scale, “adjusted to fit” images set in dynamic relation to non-linear groupings of photographs—of collectors’ homes, auction houses, and museum installations—distinctive of Lawler’s conceptual exercises. Additionally, a deceptively empty space presents black-and-white tracings of Lawler’s photographs that have been printed on vinyl and mounted directly to the wall. A display of the artist’s ephemera from the 1970s to today highlights the feminist and performative undercurrents of her art. The defiant, utterly quizzical sound piece Birdcalls (1972/81), for which the artist turned the names of well-known male artists into bird-like squawks and twitters, will be installed in the Museum’s Abby Aldrich Rockefeller Sculpture Garden. In foregrounding her work’s relationship to the economies of collaboration and exchange, Lawler shifts focus from the individual picture to the broader history of art. Her careful attention to artistic contexts, modes of presentation, and viewers’ receptions generates witty, affective situations that contribute to institutional transformation. Among the most intriguing aspects of Lawler’s working process is her continuous re-presentation, reframing, or restaging in the present, a strategy through which she revisits her own images by transferring them to different formats—from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display). Lawler’s critical strategies of reformatting existing content not only suggest the idea that pictures can have more than one life, but underpin the intentional, relational character of her farsighted art.

Selection of further exhibitions in: United states

18.10.2019 - 09.02.2020
The Jewish Museum
1109 Fifth Avenue at 92nd Street
New York

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12.04.2018 - 08.09.2019
The Jewish Museum
1109 Fifth Avenue at 92nd Street
New York

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01.11.2019 - 22.03.2020
The Jewish Museum
1109 Fifth Avenue at 92nd Street
New York

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24.08.2019 - 21.09.2019
School of Visual Arts - SVA
209 East 23 Street
New York

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08.08.2019 - 26.01.2020
Mad Museum
2 Columbus Circle
New York

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18.05.2019 - 13.10.2019
Museum of Fine Arts, Boston
465 Huntington Avenue
Boston

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26.04.2019 - 29.03.2020
Perez Art Museum Miami - PAMM
1103 Biscayne Blvd.
Miami

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01.03.2019 - 26.04.2020
Seattle Art Museum
1300 FIRST AVENUE
Seattle

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12.10.2019 - 09.02.2020
Legion of Honor | Fine Arts Museums of San Francisco
100 34th Avenue
San Francisco

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20.01.2020 - 20.01.2020
Mexican and Latino Art Museum | San Francisco | In Association With The Smithsonian Institution - Th
Fort Mason Center, 2 Marina Blvd., Building D
San Francisco

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24.07.2019 - 20.07.2020
24.07.2019 - 29.09.2019
07.08.2019 - 08.12.2019
The Bronx Museum of the Arts
1040 Grand Concourse at 165th Street
New York

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13.10.2019 - 20.01.2020
Museum of Fine Arts, Boston
465 Huntington Avenue
Boston

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31.08.2019 - 05.07.2020
de Young Museum | de Young
50 Hagiwara Tea Garden Drive
San Francisco

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02.05.2019 - 13.10.2019
Mad Museum
2 Columbus Circle
New York

Read more >>
27.07.2019 - 02.02.2020
de Young Museum | de Young
50 Hagiwara Tea Garden Drive
San Francisco

Read more >>
20.07.2019 - 05.01.2020
Brooklyn Museum
200 Eastern Parkway
Brooklyn

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Louise Lawler: WHY PICTURES NOW MoMA - Museum of Modern Art Main address: MoMA - Museum of Modern Art 11 West 53 Street NY 10019-5 New York, United states MoMA - Museum of Modern Art 11 West 53 Street NY 10019-5 New York, United states Exhibition. April 30–July 30, 2017. WHY PICTURES NOW, the first New York museum survey of the work of American artist Louise Lawler, is an exploration of her creative output, which has inspired fellow artists and cultural thinkers alike for the past four decades. The exhibition consists of a sequence of mural-scale, “adjusted to fit” images set in dynamic relation to non-linear groupings of photographs—of collectors’ homes, auction houses, and museum installations—distinctive of Lawler’s conceptual exercises. Additionally, a deceptively empty space presents black-and-white tracings of Lawler’s photographs that have been printed on vinyl and mounted directly to the wall. A display of the artist’s ephemera from the 1970s to today highlights the feminist and performative undercurrents of her art. The defiant, utterly quizzical sound piece Birdcalls (1972/81), for which the artist turned the names of well-known male artists into bird-like squawks and twitters, will be installed in the Museum’s Abby Aldrich Rockefeller Sculpture Garden. In foregrounding her work’s relationship to the economies of collaboration and exchange, Lawler shifts focus from the individual picture to the broader history of art. Her careful attention to artistic contexts, modes of presentation, and viewers’ receptions generates witty, affective situations that contribute to institutional transformation. Among the most intriguing aspects of Lawler’s working process is her continuous re-presentation, reframing, or restaging in the present, a strategy through which she revisits her own images by transferring them to different formats—from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display). Lawler’s critical strategies of reformatting existing content not only suggest the idea that pictures can have more than one life, but underpin the intentional, relational character of her farsighted art. Book tickets