Blondeau & Cie is delighted to announce a new exhibition by Louise Lawler: No Orones, organised in collaboration with Metro Pictures, New York, to open on 17 September 2015, during the "Nuits des Bains" event in Geneva.
The exhibition features a set of works on vinyl, two new photographic prints, and works on paper. A major presence on the American scene, Louise Lawler started her career in the 1970s alongside artists of the "Pictures Generation" su ch as Sherrie Levine, Cindy Sherman, Jenny Holzer, Barbara Kruger and Richard Prince, developing a practice grounded in conceptual strategies.
Using photography as her main medium of expression, the artist represents artworks both on display and in storage. Taken in museums, galleries, auction houses, storerooms and the homes of collectors, Lawler's photographs are framed so as to reveal the surroundings, context and mode of presentation of artworks.
Her work is effectively about the re-presentation of the image in various forms. As Philippe Kaiser writes of her famous Salon Hodler. "Salon Hodler, a color photograph taken in the noble home of a collector in Geneva, exists in a variety of [other] formats, as a black-and-white matted print, as a paperweight, a projection in public space, as weil as a tracing. [. . .] Whereas the black-and-white version appears as a document of the original work, in the best spirit of structuralism, the traced and enlarged version represents the skeleton of the picture. Having
mnemonically lodged in our mind and imagination, the picture resonates merely as its own ghost. [The tracings] demonstrate empirically the further steps that can still be taken to explore the extreme ends and corners of pictures and their contexts."
ln her recent series of tracings, created in collaboration with illustrator John Buller, Lawler revisits her photographic compositions in the form of drawings reproduced as black lines printed on vinyl. Applied directly to the wall, these tracings, which exist in digital form, can be printed and reprinted in dimensions that may be varied to fit the wall on which they are exhibited, while respecting the proportions of the original work.
ln the "adjusted to fit" series the artist retains the original photographic image but digitally distorts this to match the proportions of the given wall. Printed on vinyl these works are installed centered and produced in any chosen scale, creating a direct relationship with their display settings.
ln the "traced and painted" works on paper, the tracings are reprised in smaller formats, with certain motifs hand-painted in what is a first for this artist.
The eponymous installation of 12 glass vessels printed with the words "No Drones," shifts ambiguously between the status of ordinary objects and artworks, implying a direct exchange between art and society.