25
Louise Lawler
Going
- Estimate
- $50,000 - 70,000
Lot Details
cibachrome print mounted on aluminum
47 5/8 x 23 1/2 in. (117.8 x 57.2 cm)
Signed and dated "Louise Lawler 2001/2001" on the reverse.
This work is unique.
This work is unique.
Full-Cataloguing
Catalogue Essay
“I don’t think I am a photographer. I am just trying to point things out.”
LOUISE LAWLER
Louise Lawler has expanded the field of photography through her demure means of artistic observation. Her photographs present images of paintings hanging on the walls of museums, galleries or homes, installation procedures, and sculptures being viewed by spectators. Presenting a dialogue on the function of art as a cultural commodity, Lawler challenges the predominant institutionalized settings common in establishing artistic precedence in a humorous and thought-provoking manner.
Going, 2001-2002, is an eloquent example of Lawler’s “art about art” approach. Capturing two art handlers in the midst of preparing to move Jeff Koons’ Michael Jackson and Bubbles, Lawler allows her shutter to remain open, tracing the motion across the picture. This investigation of evokes Duchampian ready-mades as much as it revitalizes our interpretation of Jeff Koons’ work. Exhibited in her solo exhibition at the Wexner Center for Arts, Going, 2001-2002, explores how new relationships can be coaxed out of source images while still standing on its own as an original and insightful image.
LOUISE LAWLER
Louise Lawler has expanded the field of photography through her demure means of artistic observation. Her photographs present images of paintings hanging on the walls of museums, galleries or homes, installation procedures, and sculptures being viewed by spectators. Presenting a dialogue on the function of art as a cultural commodity, Lawler challenges the predominant institutionalized settings common in establishing artistic precedence in a humorous and thought-provoking manner.
Going, 2001-2002, is an eloquent example of Lawler’s “art about art” approach. Capturing two art handlers in the midst of preparing to move Jeff Koons’ Michael Jackson and Bubbles, Lawler allows her shutter to remain open, tracing the motion across the picture. This investigation of evokes Duchampian ready-mades as much as it revitalizes our interpretation of Jeff Koons’ work. Exhibited in her solo exhibition at the Wexner Center for Arts, Going, 2001-2002, explores how new relationships can be coaxed out of source images while still standing on its own as an original and insightful image.
Provenance
Exhibited
Literature