[Untitled, Blue]
Louise Lawler
1978
[Untitled, Blue]
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In 1978, Lawler published three untitled volumes—one black and white, one red, and one blue—each guided by a similar sales concept: buyers were offered two different prices, one of which was circled in red, as ...
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[Untitled, Blue]
Louise Lawler
1978
New York: Self-published
Unpaginated [52 pages]
17.6 × 12.6 cm

In 1978, Lawler published three untitled volumes—one black and white, one red, and one blue—each guided by a similar sales concept: buyers were offered two different prices, one of which was circled in red, as explained by the artist on the inside front cover. The black-and-white volume presents a cinematic transcription of the death of Mata Hari, inspired by British war journalist Henry G. Wales's account of her execution in 1917, and one single seven of spades playing card. The red and blue volumes, by contrast, are illustrated entirely with the backs of playing cards, accompanied by descriptions of the images that would appear on their faces. Lawler later explained this semantic play to Bruce Hainley: "At about the same time I printed photos of the cards, from the same deck, again life-size, keeping track of which they were and put[ting] the information of what they were on the print with press type. They were shown in a group show at the 100 Dollar Gallery, interspersed with other people's work." (Frieze, September 2004).


 


These volumes, particularly the blue and the red one, can be inscribed within the ludic conceptual logic explored by her peers: Marcel Broodthaers and Robert Barry, among many others. Lawler's early artists' books are now extremely rare. During the 1970s, she distributed them not only through art bookstores and galleries but also through unlikely venues such as cinemas and hairdressing salons. This unconventional mode of distribution partly accounts for the rarity of her early publications today.

New York: Self-published
Unpaginated [52 pages]
17.6 × 12.6 cm

In 1978, Lawler published three untitled volumes—one black and white, one red, and one blue—each guided by a similar sales concept: buyers were offered two different prices, one of which was circled in red, as explained by the artist on the inside front cover. The black-and-white volume presents a cinematic transcription of the death of Mata Hari, inspired by British war journalist Henry G. Wales's account of her execution in 1917, and one single seven of spades playing card. The red and blue volumes, by contrast, are illustrated entirely with the backs of playing cards, accompanied by descriptions of the images that would appear on their faces. Lawler later explained this semantic play to Bruce Hainley: "At about the same time I printed photos of the cards, from the same deck, again life-size, keeping track of which they were and put[ting] the information of what they were on the print with press type. They were shown in a group show at the 100 Dollar Gallery, interspersed with other people's work." (Frieze, September 2004).

 

These volumes, particularly the blue and the red one, can be inscribed within the ludic conceptual logic explored by her peers: Marcel Broodthaers and Robert Barry, among many others. Lawler's early artists' books are now extremely rare. During the 1970s, she distributed them not only through art bookstores and galleries but also through unlikely venues such as cinemas and hairdressing salons. This unconventional mode of distribution partly accounts for the rarity of her early publications today.

DESCRIPTION

In 1978, Lawler published three untitled volumes—one black and white, one red, and one blue—each guided by a similar sales concept: buyers were offered two different prices, one of which was circled in red, as explained by the artist on the inside front cover. The black-and-white volume presents a cinematic transcription of the death of Mata Hari, inspired by British war journalist Henry G. Wales's account of her execution in 1917, and one single seven of spades playing card. The red and blue volumes, by contrast, are illustrated entirely with the backs of playing cards, accompanied by descriptions of the images that would appear on their faces. Lawler later explained this semantic play to Bruce Hainley: "At about the same time I printed photos of the cards, from the same deck, again life-size, keeping track of which they were and put[ting] the information of what they were on the print with press type. They were shown in a group show at the 100 Dollar Gallery, interspersed with other people's work." (Frieze, September 2004).

 

These volumes, particularly the blue and the red one, can be inscribed within the ludic conceptual logic explored by her peers: Marcel Broodthaers and Robert Barry, among many others. Lawler's early artists' books are now extremely rare. During the 1970s, she distributed them not only through art bookstores and galleries but also through unlikely venues such as cinemas and hairdressing salons. This unconventional mode of distribution partly accounts for the rarity of her early publications today.

New York: Self-published
Unpaginated [52 pages]
17.6 × 12.6 cm

In 1978, Lawler published three untitled volumes—one black and white, one red, and one blue—each guided by a similar sales concept: buyers were offered two different prices, one of which was circled in red, as explained by the artist on the inside front cover. The black-and-white volume presents a cinematic transcription of the death of Mata Hari, inspired by British war journalist Henry G. Wales's account of her execution in 1917, and one single seven of spades playing card. The red and blue volumes, by contrast, are illustrated entirely with the backs of playing cards, accompanied by descriptions of the images that would appear on their faces. Lawler later explained this semantic play to Bruce Hainley: "At about the same time I printed photos of the cards, from the same deck, again life-size, keeping track of which they were and put[ting] the information of what they were on the print with press type. They were shown in a group show at the 100 Dollar Gallery, interspersed with other people's work." (Frieze, September 2004).

 

These volumes, particularly the blue and the red one, can be inscribed within the ludic conceptual logic explored by her peers: Marcel Broodthaers and Robert Barry, among many others. Lawler's early artists' books are now extremely rare. During the 1970s, she distributed them not only through art bookstores and galleries but also through unlikely venues such as cinemas and hairdressing salons. This unconventional mode of distribution partly accounts for the rarity of her early publications today.

MORE BOOKS

In 1978, Lawler published three untitled volumes—one black and white, one red, and one blue—each guided by a similar sales concept: buyers were offered two different prices, one of which was circled in red, as explained by the artist on the inside front cover. The black-and-white volume presents a cinematic transcription of the death of Mata Hari, inspired by British war journalist Henry G. Wales's account of her execution in 1917, and one single seven of spades playing card. The red and blue volumes, by contrast, are illustrated entirely with the backs of playing cards, accompanied by descriptions of the images that would appear on their faces. Lawler later explained this semantic play to Bruce Hainley: "At about the same time I printed photos of the cards, from the same deck, again life-size, keeping track of which they were and put[ting] the information of what they were on the print with press type. They were shown in a group show at the 100 Dollar Gallery, interspersed with other people's work." (Frieze, September 2004).

 

These volumes, particularly the blue and the red one, can be inscribed within the ludic conceptual logic explored by her peers: Marcel Broodthaers and Robert Barry, among many others. Lawler's early artists' books are now extremely rare. During the 1970s, she distributed them not only through art bookstores and galleries but also through unlikely venues such as cinemas and hairdressing salons. This unconventional mode of distribution partly accounts for the rarity of her early publications today.

MORE BOOKS