What is more, personages are often included, among whom are the collectors themselves, who are discussing the works surrounding them. They are the experts, individuals who combine their sensitivity and their knowledge. Indeed, the implicit documentary nature of these images must not be overlooked, as they are visual testimonies of the contents of some monumental collections.
John Berger stresses the sociological implication by pointing out that these paintings show us the class of men for whom the artists painted and that above all else, they were objects that could be bought and possessed4. Gradually, the wealthy bourgeoisie began to take up collecting, assimilating, as in so many other aspects, the habits of the nobles of the old regime. They were to have their portraits made in private quarters full of paintings. For example, Johann Zoffany, a German painter residing in London since and chronicler of English society of the last quarter of the century, painted a portrait the famous collectors, the Townleys.
But the expansion of the art market, resulting from the incorporation of artistic objects into the new economic model, will lead painters to focus their interest on those new spaces. The social description of them is therefore just as significant as the reproduction of the works displayed for sale. Nevertheless, modernity was to witness the birth of the public museum, the natural result of collecting5. The genre of paintings of collecting was not to disappear, although it diminished considerably.
Diverse paintings and engravings were to show the aspect of these new institutions, more systematic in the arrangement of works yet with an identical concept of distribution. During the XX century, some painters, such as Edouard Vuillard, were to depict the interior of the Louvre on several occasions, but photography was soon to substitute painting in the documentation of art spaces. The implicit intention of boasting, typical of the private owners, having disappeared, photography was to assume the instrumental task of documenting them.
But as a conceptual and formal objective of artistic creation, it was as recently as the s that photography was to focus on art spaces, coinciding with the reconsideration of its creative statute and its conversion into an option that largely substitutes figurative painting, from which it even takes the traditional genres6.
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In this light, the use of art spaces as argument for contemporary photography could be considered one more sub-genre of landscape that updates the historical painting of collecting and makes manifest the survival of genres by way of the succession of media7. Their aims are obviously very different from those underlying the Renaissance and Baroque paintings: Attention to the spaces Space, or if you wish, ambience, constituted one of the most relevant signs of collection painting.
Along with the recognition of the different works that appear hanging on the walls, and, of course, of the personages present in the rooms, in other words, along with the expression of the taste of their owners, which is simultaneously that of the privileged classes of the old regime, what these representations demonstrate is a motley, dense spatial order, product of the overornate ambiance, where only the doors and windows are free of artworks.
Paintings are overlapped on the surface, piled one on top of the other, leaning against furniture or held by the personages themselves.
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On the one hand, accumulation is a sign of the purchasing power of the owners, and on the other a sign of their sensitivity. A true horror vacui, a chromatic densification resulting from the juxtaposition of a number of works too large for the space available, tells us something about the nature of the atmosphere of the noble residences, about the pleasure they must have experienced when immersing themselves in these tightly packed ambiances, in those microcosms compiling the essential elements of Western culture: Naturally, the public museum spaces housing the historical collections — frequently refurbished palaces- which are the object of preferential attention of this recent photography, have generally substituted their original ambiances for others imposed by museographical theory, also changeable.
Nevertheless, there is no scarcity of examples of how, in certain palaces or specific parts of these, it has been decided that the original distribution structure ought to be respected, precisely to benefit the ambiance: Artists such as Doug Hall deal precisely with this permanence, showing us a room where Roman busts are accumulated up high Elena Capitolin Museum, , or the wing of a gallery whose walls bear canvases of considerable size Central Picture Gallery, Galeria Corsini, In both cases, the furniture and architectural ornaments place the works within context, contributing to the maintenance of the period ambiance.
The atmospheric interest is emphasized in the first place by that distancing from the individual, with respect to the works as well as the people who pass through its spaces, achieved by distanced compositions and, in the case of the people, by a blurriness caused by the their movement. And in the second place, by way of light, which, by pouring in through the windows, creates strong contrasts between bright areas and those which remain in penumbra. Therefore, the visitors do not perturb, at least in these shots, the nature of the space we are offered as an incarnation of the world with its hierarchies, ordered and closed, belonging to the mentality responsible for establishing quarters such as those captured by Doug Hall.
They are documents examined repeatedly by our contemporaries. Quietness becomes a metaphor of contemporary impotence, a sign of the social failure accompanying us, a historical inheritance, because although those spaces end up receiving spectators, it will be demonstrated that communication is impossible. The great columned spaces of the NBM reaffirm the feeling of spiritual void with their architectural solidity; a noble setting for an absence. Not even spaces for art escape that distancing from history which has not been replaced with anything but banality.
Historical museums that house art from the past are milestones attracting the attention of the masses, for they have become a part of that marketing of cultural. Therefore, it ought not be surprising that some artists convert the interiors of these institutions into the subject of their photographs, for they are more interested in the social environment than in the spatial or artistic one. Thomas Struth thus explores some of those capital centers of historical collection: But Struth is interested in the attitudes of the visitors, which are made manifest by their corporal expression: Thus, in the work Versailles, Paris , his lens is focused on one of those works which is temporarily removed, most probably because it is being restored or it is on loan.
The viewers captured by Erwitt become readers who have approached the note substituting for the painting in order to learn what work it was and why it is absent. The work thus becomes the documentation of one of the habitual situations in a museum; although perhaps a second conclusion can be derived from it: The apparently intense concentration shown by these people in front of this pictorial void make this evident.
In other cases, Erwitt is more of a formalist. For example, in Metropolitan Museum of Art, New York , where a symmetric composition serves to emphasize the depth of field created by the continuity of rooms. One single spectator, far away on this occasion, becomes an. But if historical museums, including some contemporary art museums which now belong to that category, are currently places receiving massive numbers of visitors, over the last couple of decades, fairs and biennials have been added to the list of late postmodern cultural experiences.
Their precedents can be found in the eighteenth century shows prolonged throughout the entire XIX century, the first public art shows focusing on contemporary society and not on History. If, for a long time, these novel artistic events, such as the Venice Biennial or the Kassel Documenta, attracted a specialized public, they have now become part of the cultural consumption circuit.
The contemplating these spaces have become preferentially interested in the processes of mounting and dismounting, leaving the public out. Since they are temporary spaces, which, in the case of fairs, do not even last a week, the building of these authentic sets becomes an event in itself. The instrumental tasks carried out by carpenters, painters or electricians coexist with those of transporters, assemblers; varying professionals coexist for days in a single space.
The works rest in their packages until the stage is ready. The spectacle therefore unfolds during the days previous to the inauguration, behind the scenes. Artists like Louise Lawler reflect these contingencies in their work. The spaces offered here ratify, on the other hand, their scenic condition: They are the initial moments of the set-up preceding the staging, for as in the theater arts, these artistic events afford large doses of theatricality, from the presentation of the works to the On the one hand, she portrays a most bustling moment of the process: The artist thus establishes a radical contrast between two zones: It is as if the artist had wanted to represent the two aspects of our existence: The first, although largely molded by the second, can be shaped as a purified universe —in this sense, the man, who with his cleaning instrument provides the space with its last touches, becomes the sign of the interior construction of feelings- which, to a certain extent, is separate from the exterior.
The artist draws a line that radically divides both spaces, although it is doubtless a permeable barrier. Gonzalo Puch takes advantage of the dynamic images created by the works hanging in one of the fair booths to insist on an aspect reiterated in his work: Private spaces also deserve the attention of artists such as Montserrat Soto, as is the case in her series Paisajes secretos Secret Landscapes.
That social extension of collecting which was to commence in the latter half of the XVIII century has grown continuously until the present day.
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From important businessmen to professionals, intellectuals and members of the vast middle class, which currently embodies one of the most numerous segments of developed societies, art has become part of the commonplace by way of its presence in spaces for residence. But as opposed to the collectors of the past who liked to show off their collections, the contemporaries prefer the discretion of enjoying them privately. The spatial limitations of modern homes impose forced arrangements of the works that end up installed in the most outlandish places, often causing awkward coexistences.
Nevertheless, in our day, the deep-rooted wealthy families survive and their ways seem to be the prolongation of those of their ancestors. Some photographers have portrayed them in their luxurious mansions. The artworks, inherited from their ancestors, are nothing here but backdrops for their portraits and, in this sense, they do not differ greatly from the eighteenth century portraits by Zoffany mentioned above. Thus are the works by Patrick Faigenbaum: Famille Frescobaldi, Florence or Famille Massimo, Rome , made in black and white to emphasize the rank environment.
The artificialness of the protagonists poses is accentuated and an emotional distance exists with respect to the subjects. The museum space is transformed by other artists into a diorama for the development of representations in real time. This is done by Vanessa Beecroft in some of her performances. A classic columned hall of noble.
A distinguished framework replete with ideological connotations upon which the artist develops her habitual deconstructive discourse on feminine roles. The dancers, of great physical likeness, an element that emphasizes the clone-like nature of the institutionalized model woman, occupy the surface in different positions and postures that change little by little. The artist extracts photographic sequences from the process. Likewise, Matthew Barney has situated certain sequences of his films within museum spaces, as is the case of Cremaster 3 in the Guggenheim Museum of New York.
Thus, in The Analysis of Beauty , with the help of optical astronomy instruments, two individuals examine the paintings around them, as if the mysteries of beauty were too subtle or too hidden to be appreciated directly. In The Art Lovers , the artist substitutes monkeys for people as museum visitors. She thus reconsiders an age-old symbol in Western tradition; this simian has incarnated all the negative elements that survive in man.
Quite frequently in classic paintings, monkeys appear in chains to symbolize the triumph over passion. Knorr no doubt contemplates them in the first version, to accentuate a frequent distancing between work and viewer. Attention to the works The interest in spaces where artworks are stored gives rise, as we have seen, to reflections of essentially sociological natures: However, many artists have shown themselves to be more interested in the works than in the spaces. In that case, the discourse shifts toward a practice rather characteristic of postmodernism, appropriation11, or, in other words, toward a conversion of artworks that are precedents for protagonists of creation.
This is a practice that has been utilized in artistic creation from the early contemporary period, albeit with differing intentions12, but which, in recent decades, has acquired a certain degree of significance, especially owing to the. The questioning of the marketing and consumerism art is subjected to are some of the issues this practice brings up. From the medium of photography, Sherrie Levine or Richard Prince reach the maximum benchmarks of radicalism, mostly due to the fact that they verge on plagiarism — for example, the well-known series After Walker Evans, by Levine-.
From a less strict posture, Louise Lawler portrays works by very significant artists from the Pop and Neo-pop movements. For example, Andy Warhol and Jeff Koons. Significantly, many of these works are, in turn, results of appropriations by the chosen artists. We therefore find ourselves before a double appropriation that on the one hand incites debate about the nature and meaning of representation, but that, differing from artists like the above-mentioned Levine or Prince, does so by way of a return to a long-standing strategy in Western art: Other artists have realized more subtle appropriations.
For example, Vanessa Beecroft, in her series The Sister Project , uses the classic position of a woman reclining on her divan; Jane Bretle adopts an identical attitude with her series Restoration Works , although in this case juxtaposing the image of the neoclassical sculpture Paulina Borghese as Venus Vectorix, by Antonio Canova, with that of the young Olivia, who adopts the same posture in a contemporary bedroom setting.
A visual relationship that reflects the relationship she has had with the sculpture, since she is its restorer. But the presence of works from the past can respond to other pretensions. From pure homage to certain artistic periods to the introspection of the relationships between works and their exhibition spaces. The former is perceptible in series by Carlos Serrano such as Carne, demonio y mundo Flesh, demon and world , , which he dedicated to the classic statuary of Antiquity, for which he scoured the different historical museums and buildings housing it.
His approach to it is doubtless sentimental; the use of black and white photography, the blotchiness of the image, the employment of close-up compositions, the insistence on backlighting, all create a melancholic tone while simultaneously constructing an almost human fleshiness. Indeed, it could be stated that the preponderance conceded to the couch in the title places those elements in a secondary position, as objects that contribute to the luxurious nature of that atmosphere of royal elegance. Hence, before the City Hall of Calais, it fulfills its original purpose: The same phenomenon can be observed in other media.
For example, in literature, where a structure as characteristic as melodrama is adopted first by film and then by radio and television. The radical changes produced over a mere two decades in the sphere of the global economy, which are contributing to a transition from industrial to cultural capitalism14 directly affect the territory of art, especially its channels of distribution, exhibition and, of course, its reception, broadened in quantitative terms.
Art, through its traditional exhibition spaces: Therefore, it is not surprising that all these spaces for art claim the attention of an ever greater number of artists, most, although not all, of whom, as we have seen, are interested in their sociological aspects.
What we have here is the rehabilitation of a genre from contemporary parameters. He has curated numerous exhibitions and he contributes regularly to several publications, such as El Mundo, Madrid, among others. He has published papers on art theory, architecture and contemporary art, most recent of which is a monograph on the Italian painter Emilio Vedova. Consortium of Salamanca, , page Rifkin, Jeremy, La era del acceso, Piados, Barcelona, , pages Rifkin, Jeremy, page Louise Lawler Exhibition, Paint, type, shelves, printed glasses, and two framed cibachromes: Un saber ya constituido, repertoriado, codificado.
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Se separan, se desligan del sistema de poder, con sus complicidades, posesiones y reconocimientos constitutivos. Algo indeterminado viene a trastornar estas escenas demasiado plenas de sentido. El efecto trasciende el lugar donde lo esperamos. Su gesto hace de ella misma parte integrante de este juego donde los bienes circulan en el modo de la transitividad. La multiplicidad de las ocurrencias expuestas y reexpuestas amplifica el valor de los objetos y alimenta sus discursos.
En cada una de las ocurrencias resimbolizadas hay ganancia: Reforzando sus encajes tentaculares, aumenta la oferta en el proceso. Sin embargo la obra de Louise Lawler no se reduce a un acto contextual. Los indicios aligerados se inscriben en el hueco, en detalles fantasmas. Remito a los numerosos ensayos esclarecedores que Johannes Meinhardt ha dedicado a la obra de la artista. An Arrangement of Pictures, citada anteriormente. Harcourt Brace Jovanovitch, Inc.
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Appropiation and Montage in Contemporary. The work of Louise Lawler is presented in an ostensibly clear program, as work on the conditions, procedures, instances of presentation, framing and circulation of works of art. She photographs art and its spaces, but to disturb her skillfully channeled economy of attention span and attachment. It is this basic yet irresolvable doubt that encircles the photographs of Louise Lawler. Detail, which takes on an incongruous nature, plays a crucial role in the appropriation, a doubtlessly cruel play on identification.
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If the system is anchored around such reversible elements, what credit can it be given? These photographs cut out the established meaning. They feed on the supposition of knowledge, a type of knowledge that has already been acquired, classified and coded.
What does she show us? Arrangements are always tied to social conventions, to systems of subordination, coordination or alienation. To focus on detail is not to seek anecdotes. It is the detail that counts. As compared to customary understanding, well-informed connivance, or conventional interpretation, on a rebound, her photographs introduce a slight departure. In the power system with its complicities, its memberships, its constitutive recognition, her photographs mark a. Black and white photo with mat, 10 x 7,6 cm image , 53,3 x 47 cm mat.
And it is at this unnoticeable shifting point in the in-between, when slipping across the boundaries between meaning, convention and contextual confusion that something begins to take root. Something undetermined comes to shake these scenes that are too full of meaning. In the end, what hits us is the ungraspable overbearing of something that insists without persistence.
The impression pervading the work is one of sophisticated grace, of absolute elegance, of poignancy. In this defensive move, discrete in these times of cacophony in exhibits and unusual for the various types of anesthesia found in modern-day art, the tone is maintained, a pertinent tone, an impertinent tone, governed by epigram and fable. Beyond calling into question power, systems and authority, there is a unique place that these cold analyses confer to a one-of-a-kind way of viewing, sensibility without pathos, nostalgia or deploring, without militancy, that does not propose rallying behind any position but rather a vision full of perplexities, a functional contrast of the new management of symbolic affairs, fragile adventures in a relationship with the present marked by a gap.
With a keen sense of the precariousness with which we inhabit time, a sense of enduring misunderstanding, the work indicates that the evidence, be it visual or not, is really not enough in and of itself. The artist borrowed a painting representing a racehorse at rest from the New York Racing Association. This was a shift to an incongruous context in a place devoted to the presentation of up and coming art. The photographer decided to light the exhibition area with two theatre spotlights. One, placed over the painting, disrupted the viewing which could only be done through the glare. The other, oriented outwards, tied the exhibit hall interior together with the street below.
Louise Lawler was already then trying to conjugate and decompartmentalize spaces, instances, communities of interest, and highly divergent styles. How can one cross what is not supposed to be, any situation that has never been, she underscores this: In addition, a play was established between the elevation and the restoration of an object, the painting. The painted horse, only perceived with difficulty, was hung in the center of a row of window panes.
EXIT #9 · Espacios del arte / Spaces for art by EXIT - Issuu
This modulation of the set in turn evoked a profusion of unalike places, such as the stable stall, the continuation of the landscape in the glass, the reflection of the painted sun echoing the Hollywood-like spotlight. In , Louise Lawler intervened in the prestigious Leo Castelli gallery of contemporary art with an exhibition of work on paper entitled Amalgame.
Having obtained authorization to use an insertion, she hung her work, a photograph entitled Open among those of Jasper Johns, Warhol…and responded to the ostentatious legibility of their names by placing it, with equally large letters, under the name Anonymous. The photograph Open is centered on the fold and the margins of a double page spread of an open book about a novel by Moravia. If the system is based on nothing more than a play on differences and places, if the differences do not draw their value from anything other than the places they occupy, then it is the symbolism itself that introduces the issue of places.
Louise Lawler observes the relationship between different places in order to draw something that normally remains unperceived. The piece Open is a contextual intervention in an explicit ellipse. For her photograph Open, she pooled from and diverted a fragment of recognized literature to a world of recognized visual arts. Pooling from what is heterogeneous, a piece of literature, and inserting it in a framework nevertheless upsets the hegemony of membership, shifting what is implicit and what is explicit, triggering a slippage of meaning within the contiguity.
Texts only appear as related to the photographs, but the artist also displays them on pieces of glass, matchboxes, paper napkins, paperweights, writing paper, which she thereby produces. Slipping them in in an ancillary fashion can be interpreted as a way to state that the rest of the world also counts, and not only the world of art where the attention is channeled. The added benefit, she says, is that a distance is left from artistic imperatives.
Louise Lawler attaches importance to all that the institutional sphere produces even in its most humble and neglected mediums: An integral part of the materials on exhibit and of the circulation of art, these modest, marginal elements, become media detached from art. Invited to put up her first official exhibition in in the Metro Pictures gallery, Louise Lawler responded to the invitation by composing a mis-en-scene of the works of the following artists: The gallery in fact represented a group of artists with a shared ideology, all of whom touched upon the so-called strategy of appropriation.
And a two or three phased to- began. In the first phase, she went to the Metro. Pictures gallery collectors and photographed the work of the gallery artists placed among the everyday objects in their respective public or private surroundings. This naming of the place where the photograph was extracted simulates a re-appropriation in the opposite direction, between authors and operators, owners and producers.
In the interview with Douglas Crimp that prefaces the book An Arrangement of Pictures where she reminds the readers of the decisions taken for this exhibition, Louise Lawler said: Both explicit and implicit collaboration are also stated as being central to her work. She went on to work in collaboration with other artists, such as Sherrie Levine A Picture is No Substitute for Anything where they adopted a feigned position of a gallery proprietor, and also with Allan McCollum for her installation Ideal Settings for Presentation and Display which presented the gallery space as a true-to-life sized advertising stage.
And the effect is produced where it is not expected. It would then be exhibited in that same gallery —she takes us into the world of musical chairs of merchandise and representations, in this closed system where Louise Lawler strikes out the original overstatement by making her own overbid, thereby forming an integral part of this play upon transitive circulation.
The host of occurrences exhibited and reexhibited amplifies the value of the objects and feeds into their discourse. This added value couples itself with the system of recognition, identity and accelerated promotion. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. To get the free app, enter your mobile phone number. Would you like to tell us about a lower price? Read more Read less. Spanish Similar books to El galerista: Our favorite toys for everyone on your list Top Kid Picks.
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