PARIS.- Yvon Lambert announces the sixth solo exhibition devoted to the American artist Louise Lawler which will be held from March 14th to April 19th at the gallery. For this exhibition, Louise Lawler will present a new serie of works originally created for her major show at the Museum Ludwig in Cologne which opened in late 2013. The exhibition will include a collection of black and white vinyl images traced directly from some of her iconic photographs. Traced by the children’s book author and illustrator Jon Buller, these different panels, like large pages from a picture book waiting to be coloured in, allow Louise Lawler to develop further the idea of appropriation present throughout her work. In No Drones, Louise Lawler appropriates her own images and questions their value by crystallising them in the simple form of a black and white outline.

Louise Lawler comes from an artistic climate that is centred around the deconstructionist frameworks established by the early avant-garde. In this climate by using photography as a medium of thinking arts, Louise Lawler gives a new status at the image which is not purely a tool of representation. Her photography is characterised by an approach that is directly rooted in conceptual art. Marked by a real poetic ambiguity, Louise Lawler’s images show us the external conditions that determine how we relate to art. Photographed in museums, private collections, auction houses and storage, the works of art that inhabit Louise Lawler’s images are defined by the situation in which they are found, far from the usual aesthetic or historical considerations. Like Marcel Duchamp, Louise Lawler manages to inspire reflection in the viewers of her photographs on the inescapable relationship that exists between artistic output and its cultural reception. In this way, she underlines the importance of context in how we perceive and understand art.

Attentive to the conceptual art scene of the 70s, Lawler’s work and early interventions evolved to use photography as a means to engage in conscious consideration of art systems and institutions. As well as being part of the prevailing discourse surrounding the conditions and economics involved in exhibiting and circulating artworks Louise Lawler is part of a generation of mutually supportive and visible women artists who were both beneficiaries of the feminist movement and feminists themselves.

Louise Lawler was born in 1947 in Bronxville, New York. She works and lives New York.

Her work has benefit from numerous solo exhbitions at the Sprengel Museum in Hannovre, DE ; the Kunstverein in Munich, DE; the Kunstmuseum in Basel, CH ; the Kunstverein in Hamurg, DE ; the Documenta in Kassel, DE ; the Kunstgeverbemuseum of Dresden, DE and more recently at the Dia Art Foundation in New York, US and the Ludwig Museum in Cologne, DE.

She has also participated to several group shows : Hammir Museum in Los Angeles, US ; the Kunstverein of Düsseldorf, DE ; the Metropolitan Museum in New York, US ; the Central for Contemporary Art in Brussels, BE ; the Musée d’art contemporain in Bordeaux, FR ; the Contemporary Art Foundation de Miami, US ; the ICA in London, UK ; the MuMOK in Vienna, AT ; the Astrup Fearnley Museum of Moderne Art in Oslo, NO ; the Jumex Collection in Mexico City, MX ; the Museum of Contemporary Art in Chicago, US ; Des Moines Art Center, US ; the Drawing Center in New York, US ; the Withney Museum of American Art in New York, US ; the Collection Lambert in Avignon, FR ; Museum der Moderne of Salzburg, AT.