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DISTORTED FOR THE TIMES

LOUISE LAWLER











 

In 2011, Louise Lawler began "adjusting to fit"—that is, changing the aspect ratio of her photos to fit the dimensions of the walls on which they are installed. When the adjusted works are vinyl wall murals, they can be any scale but must be centered on the wall. For mounted works, the image is produced to fit the ratio of the wall of its first presentation. In print, the image is adjusted to fit the constraints of its reproduction. 

In 2017, she began applying digital filters to distort selected images. The titles acknowledge these processes by adding
"(adjusted to fit)" or "(distorted for the times)" to the original title. The following pictures have been adjusted to fit the space allotted for this viewing room.











 

Louise Lawler's Pollyanna (adjusted to fit, distorted for the times), 2007/2008/2012/2017 photograph

Pollyanna (adjusted to fit, distorted for the times), 2007/2008/2012/2017
























 






 

Louise Lawler's Andy in L.A. (adjusted to fit, distorted for the times, three), 2004/2016/2019 photograph

Andy in L.A. (adjusted to fit, distorted for the times, three), 2004/2016/2019
























 






 

Louise Lawler's Egg and Gun (distorted for the times, dire), 2008/2017 (adjusted to fit) photograph

Egg and Gun (distorted for the times, dire), 2008/2017 (adjusted to fit)
























 

Louise Lawler's Formica (adjusted to fit, distorted for the times, slippery slope 4), 2011/2012/2015/2018 photograph

Formica (adjusted to fit, distorted for the times, slippery slope 4), 2011/2012/2015/2018
























 

Louise Lawler's (Bunny) Sculpture and Painting (adjusted to fit, distorted for the times), 1999/2015/2019 photograph

(Bunny) Sculpture and Painting (adjusted to fit, distorted for the times), 1999/2015/2019
























 

Louise Lawler's Andy in L.A. (adjusted to fit, distorted for the times, two), 2004/2016/2019 photograph

Andy in L.A. (adjusted to fit, distorted for the times, two), 2004/2016/2019
























 

Louise Lawler's That Looks Nice (distorted for the times), 2015/2016/2018 (adjusted to fit) photograph

That Looks Nice (distorted for the times), 2015/2016/2018 (adjusted to fit)
























 

Louise Lawler Soup and Mirror (adjusted to fit, distorted for the times, one), 2001/2005/2017 photograph

Soup and Mirror (adjusted to fit, distorted for the times, one), 2001/2005/2017
























 

Louise Lawler Andy in L.A. (adjusted to fit, distorted for the times, four), 2004/2016/2019 photograph

Andy in L.A. (adjusted to fit, distorted for the times, four), 2004/2016/2019
























 

Louise Lawler's Egg and Gun (distorted for the times, speechless), 2008/2018 (adjusted to fit) photograph

Egg and Gun (distorted for the times, speechless), 2008/2018 (adjusted to fit)
























 

Louise Lawler's Formica (adjusted for the wall, Metro Pictures, FIAC, distorted for the times, slippery slope 1), 2011/2012/2015/2017 photograph

Formica (adjusted for the wall, Metro Pictures, FIAC, distorted for the times, slippery slope 1), 2011/2012/2015/2017
























 

Louise Lawler's Corner (distorted for the times, perturbée), 2014/2018 (adjusted to fit) photograph

Corner (distorted for the times, perturbée), 2014/2018 (adjusted to fit)
























 

Louise Lawler's Still Life (Candle) (adjusted to fit, distorted for the times), 2003/2016/2018 photograph

Still Life (Candle) (adjusted to fit, distorted for the times), 2003/2016/2018
























 

Pollyanna (adjusted to fit, distorted for the times), 2007/2008/2012/2017 adhesive wall image installed at MoMA

Pollyanna (adjusted to fit, distorted for the times), 2007/2008/2012/2017.
In WHY PICTURES NOW. Installation view, 2017. Museum of Modern Art, New York.
© 2017 Museum of Modern Art, New York. Photo: Martin Seck.

Formica (adjusted for the wall, Metro Pictures, FIAC, distorted for the times, slippery slope 1), 2011/2012/2015/2017 adhesive image installed at CCA Wattis Institute

Formica (adjusted for the wall, Metro Pictures, FIAC,
distorted for the times, slippery slope 1)
, 2011/2012/2015/2017.
In Mechanisms. Installation view, 2017.
CCA Wattis Institute, San Francisco. Photo: Johnna Arnold.

Formica (adjusted to fit, distorted for the times, slippery slope 3), 2011/2012/2015/2018 adhesive wall image installed at Secession, Vienna

Formica (adjusted to fit, distorted for the times, slippery slope 3), 2011/2012/2015/2018. In Other Mechanisms. Installation view, 2018. Secession, Vienna. Photo: Peter Mochi.

Installation view of Louise Lawler adhesive wall images in Andy in Chicago, Art Institute of Chicago

Andy in L.A. (adjusted to fit, distorted for the times, four), 2004/2016/2019;
Andy in L.A. (adjusted to fit, distorted for the times, three), 2004/2016/2019;
Andy in L.A. (adjusted to fit, distorted for the times, two), 2004/2016/2019.
In Andy in Chicago. Installation view, 2019. Art Institute of Chicago.

Installation view of Soup and Mirror (adjusted to fit, distorted for the times, one), 2001/2005/2017 at Metro Pictures gallery

Soup and Mirror (adjusted to fit, distorted for the times, one), 2001/2005/2017.
Installation view, 2017. Metro Pictures, New York.

Installation view of Still Life (Candle) (adjusted to fit, distorted for the times), 2003/2016/2018 at Yuz Museum, Shanghai

Still Life (Candle) (adjusted to fit, distorted for the times), 2003/2016/2018.
In The Artist is Present. Installation view, 2018. Yuz Museum, Shanghai.

Louise Lawler's (Bunny) Sculpture and Painting (adjusted to fit, distorted for the times), 1999/2015/2019 at Art Basel, Hong Kong 2019

(Bunny) Sculpture and Painting (adjusted to fit, distorted for the times), 1999/2015/2019.
Installation view, 2019. Art Basel, Hong Kong.

Installation view of Andy in L.A. (adjusted to fit, distorted for the times, two), 2004/2016/2019 at Art Basel, Switzerland

Andy in L.A. (adjusted to fit, distorted for the times, two), 2004/2016/2019.
Installation view, 2017. Art Basel, Switzerland.

Louise Lawler's That Looks Nice (distorted for the times), 2015/2016/2018; That Looks Nice, 2015/2016 at Campoli Presti

That Looks Nice (distorted for the times), 2015/2016/2018; That Looks Nice, 2015/2016.
In After. Installation view, 2018. Campoli Presti, Paris.

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