At a 2007 Guggenheim panel, Richard Prince declared, “It was my job to, kind of, shoot the sheriff,” presumably implying that he was the slayer of photography, unmasking the grammar of images. But these aesthetic elements were caught in a crossfire in the seventies; what happened wasn’t the work of a lone gunman, and one of the sharpest shooters of all was Louise Lawler.
A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors’ homes, in galleries, on the walls of auction houses, and off the walls, in museum storage. All the while, she’s revealed how the installation of artworks is never neutral. Lawler photographed Jasper Johns’s White Flag hanging over a collector’s bed, Jeff Koons’s $80 million Rabbit near someone’s refrigerator, a woman casually gesturing with a Picasso sculpture in hand, a Gerhard Richter nude resting on its side on a museum floor, and Warhols galore in auction houses, art fairs, apartments, and galleries.
more from New York Magazine here.