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Louise Lawler, ‘Untitled’, 1990, Sotheby's

Neither Appearance Nor Illusion: Property from the Collection of Santiago Barberi Gonzalez

From the Catalogue
"The fates of the artworks that appear in Lawler’s photographs recall those of the figures in Ovid’s Metamorphoses: they are constantly being transformed, so that nothing remains of their prior existence, but they retain their names and their positions in the narrative, in the arrangement.”

Diedrich Diederichsen, "More Jokes about Autonomy and the Private Sphere" in: Exh. Cat., New York, The Museum of Modern Art, Louise Lawler: WHY PICTURES NOW, 2017, pp. 78-79
—Courtesy of Sotheby's

Signature: signed, dated 1990 and numbered 3/5 on the reverse

Paris, Galerie Yvon Lambert, Louis Lawler à vendre**, September - October 1990

Galerie Yvon Lambert, Paris
Metro Pictures, New York
Sotheby's, London, 29 June 2000, Lot 2
Private Collection
Christie's, London, 15 February 2012, Lot 369
Acquired from the above sale by the previous owner

About Louise Lawler

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