close

You have no items in your shopping cart.


Once There Was a Little Boy and Everything Turned Out Alright. The End. (adjusted to fit, distorted for the time, and for the benefit of Texte zur Kunst)l

Once There Was a Little Boy and Everything Turned Out Alright. The End. (adjusted to fit, distorted for the time, and for the benefit of Texte zur Kunst)l, 1993/2020 - Louise Lawler

Once There Was a Little Boy and Everything Turned Out Alright. The End. (adjusted to fit, distorted for the time, and for the benefit of Texte zur Kunst)l, 1993/2020

Louise Lawler  

Print
11,1 x 15,2 cm / 4.37 x 5.98 inch
Edition of 30 copies, signed and numbered by the artist
€1500

Save to my gallery
  • Medium: Archival pigment print
  • This work is unframed.
  • Ships in 5 to 10 business days from Berlin (DE)

about this work

This edition that Louise Lawler, a leading representative of what became known as the Pictures Generation, has created uses a two-line text she has revisited and recontextualized several times in her career: “Once there was a little boy and everything turned out alright. THE END.” In this new edition, a photograph of the phrase as a wall installation has been digitally ‘distorted for the times,’ blurring the letters and words into an indistinct dream sequence.

about Louise Lawler

Louise Lawler is a key figure of the Pictures Generation of appropriation art. At the heart of her body of work are photographs of other artists’ works as displayed in museums, storage spaces, auction houses, and collectors’ homes. She uses photography as a conceptual tool and way of directing attention to things that are tacit and unspoken - the constraints, rules, and economies of the loose system that governs the art world. It isn’t just in her photographic work that Lawler explores art’s economic regime down to its smallest, seemingly banal details. She also continues to produce ephemera including matchbooks, gift certificates, postcards, posters, and souvenirs such as drinking glasses or paperweights. Invoking her signature, subtle humor, she underscores how the art apparatus relies on a loose network of advertising materials and other articles that help determine how an artwork is recognized and valued.

Over the course of her career, Lawler has created an impressive archive that documents the rapid transformation of the art world and its turn towards neoliberal economies of attention and speculative interests. In contrast to works within the traditional movement of institutional critique, the artist’s oeuvre refrains from passing judgment and noticeably leaves room for ambiguities. What’s more, by re-staging them in a new exhibition context, she often restores some of the original aura and aesthetic autonomy to the artworks she portrays. Through her probing examination of context and value in contemporary art, Lawler has expanded conventional criticism of the institutions and practices of the art world.

(courtesy of Sprüth Magers)

Solo exhibitions include Museum of Modern Art, New York; Museum Ludwig, Cologne; Wexner Center for the Arts, Columbus, Ohio; Dia:Beacon, New York; and Museum for Gugenwartskunst, Basel. She has been included in numerous group exhibitions, including at the Walker Art Center, Minneapolis; Institute of Contemporary Art, Boston; MoMA PS1, New York; MUMOK, Vienna; Hammer Museum, Los Angeles; and the Whitney Museum, New York, which additionally her work in its 1991, 2000, and 2008 biennials.

Louise Lawler is represented by the following galleries;
click through to discover more of her work.

Sprüth Magers, Berlin / London / Los Angeles 

Galerie Greta Meert, Brussels 

Metro Pictures, New York 

Learn more about this artist