Louise Lawler, imagem sobre imagem

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"American-born Lawler’s photographs of interiors – rooms in collectors’ homes, private galleries and museums – emphasise the act of framing that is central to producing and displaying art. The artist’s role in conceptually framing a work, in other words defining its parameters through a process of selection, was first and most famously invoked by Marcel Duchamp (1887-1968) in his series of readymades – manufactured objects removed from their everyday functions and reframed as art – such as the urinal titled Fountain and signed by a fictional artistic alias R.Mutt in 1917 (see Tate T07573). Lawler draws on this tradition, playing on notions of commodification and consumerism in contemporary culture and the ways that institutions define, present and confer value and authority in art. She has commented: ‘I think art is part and parcel of a cumulative and collective enterprise, viewed as seen fit by the prevailing culture. Other work, outside work, makes up a part of this.’ (Quoted in Buskirk, p.106.) "

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