The Art of Copying: Ten Masters of Appropriation
Neither Appearance Nor Illusion: Property from the Collection of Santiago Barberi Gonzalez
Conceived in 2003 and printed in 2013, this work is number 1 from an edition of 10, plus 2 artist's proofs and is accompanied by a certificate of authenticity signed by the artist.
Paris, Galerie Yvon Lambert; New York, Metro Pictures; London, Sprüth Magers; Brussels, Greta Meert; Berlin, Sprüth Magers, Louise Lawler: No Drones, March 2014 - January 2015 (another example exhibited)
Exh. Cat., New York, Museum of Modern Art, Louise Lawler, Why Pictures Now, 2017, p. 5, illustrated in color
Sprüth Magers, London
Acquired from the above by the previous owner in July 2014
In a continuation of the institutional critique espoused by Conceptual artists such as Marcel Broodthaers, Daniel Buren, Hans Haacke, and Michael Asher, photographer Louise Lawler questions the very purpose and nature of art. Often presenting “behind-the-scenes” views of the art world, Lawler has photographed the Art Basel and Art Basel Miami Beach art fairs, the Museum of Modern Art, Christie's auction house, and various galleries. Some of her best-known works include photographs of uniformed art handlers carefully transporting a Gerhard Richter painting, Maurizio Cattelan's giant Picasso head in plastic wrapping, and a Damien Hirst spin-painting shown through a closet door.
American, b. 1947, Bronxville, New York, based in Brooklyn, New York