"Ape Culture," Haus der Kulturen der Welt, Berlin. April 30 - July 6, 2015 (Group Show)
"Picasso in Contemporary Art," Deichtorhallen Hamburg. April 3 – July 12, 2015 (Group Show)
"Stories We Tell Ourselves," Aspen Art Museum. March 27 - October 25, 2015 (Group Show)
"Reflections: A Series of Changing Displays of Contemporary Art," Scottish National Gallery of Modern Art, Edinburgh. March 14, 2015 - January 10, 2016 (Group Show)
"Parasophia," Kyoto International Festival of Contemporary Culture. March 7–May 10, 2015 (Group Show)
"Can the museum be a garden?" Serralves Museum of Contemporary Art, Portugal. February 6 - September 13, 2015 (Group Show)
"Sleepless: The Bed in History and Contemporary Art," 21er Haus, Vienna. January 29 – June 7, 2015 (Group Show)
"To Have and to Hold," Rubell Family Collection/Contemporary Arts Foundation, Miami. December 4, 2014 – May 29, 2015 (Group Show)
"Louise Lawler: A Movie Will Be Shown Without the Picture" is a research publication following the 2012 presentation the artist's work "A Movie" organized by the Stedelijk Museum and If I Can't Dance, I Don't Want To Be Part of Your Revolution. First presented at the Aero Theater in Los Angeles in 1979, Louise Lawler's "A Movie Will Be Shown Without the Picture"presents a movie in a regular cinema environment, but without any moving images. The publication includes contributions from Sven Lütticken, Debbie Broekers Eve Dullaart and Daniël van der Poel, and a sequence of images from Lawler's archive selected by Lütticken. www.ificantdance.org
Born in 1947 in Bronxville, New York; lives in New York City
Attended Cornell University (BFA 1969)
Edited by Helen Molesworth and Taylor Walsh.
By Tim Griffin.
Edited by Marc Blondeau and Philippe Davet.
"Twice Untitled and Other Pictures," published in conjunction with Lawler's first major museum exhibition in the United States, organized by the Wexner Center for the Arts. With essays by art historian and political theorist Rosalyn Deutsche and curators Ann Goldstein and Helen Molesworth.
Containing an essay by Johannes Meinhardt and an interview with Douglas Crimp.