Louise Lawler, R.H. Quaytman, Cameron Rowland @ Galerie Buchholz, Köln

Louise Lawler, R.H. Quaytman, Cameron Rowland
@Galerie Buchholz, Köln
Neven-DuMont-Str. 17 50667 Köln
Germany
4 September 2020 – 24 October 2020

installation views
































R.H. Quaytman
“Spine, Chapter 20 [Fraser, Anastas, Lawler]”, 2010
oil, silkscreen ink and
gesso on wood
50.8 x 82.2 x 1.9 cm


Louise Lawler
“Corner (distorted for the times, perturbée)”, 2014/2018
digital Fujiflex print face mounted to Plexiglas on museum box
66 x 54.3 cm


R.H. Quaytman
“+ ×, Chapter 34 [IV]”, 2018
indigo distemper and gesso on wood
94.1 x 94.1 x 3.2 cm


R.H. Quaytman
“+ ×, Chapter 34 [V]”, 2018
indigo distemper and gesso on wood
94.1 x 94.1 x 3.2 cm


Cameron Rowland
“Out of sight”, 2020
19th-century slave iron, 19th-century slave iron with missing rattle
13,5 (h) x 28 (w) x 15 (d) cm
Irons with rattles built into their handles, called slave irons, were designed to be used by the enslaved working inside the plantation house to iron the laundry of the masters. While out of sight, the rattle audibly signaled to the master that the slave was working continuously. Removing the rattle was a refusal of this oversight.
Rental


Cameron Rowland
“Out of sight”, 2020
19th-century slave iron, 19th-century slave iron with missing rattle
13,5 (h) x 28 (w) x 15 (d) cm
Irons with rattles built into their handles, called slave irons, were designed to be used by the enslaved working inside the plantation house to iron the laundry of the masters. While out of sight, the rattle audibly signaled to the master that the slave was working continuously. Removing the rattle was a refusal of this oversight.
Rental


Louise Lawler
“Water to Skin (catalogue size)”, 2016/2017
digital fujiflex print face mounted to Plexiglas on museum box
28.6 x 20.3 cm


Louise Lawler
“Vienna (lavender)”, 2018/2019
gelatin silver print in artist frame
57.8 x 45.1 cm
(framed: 78.1 x 64.8 cm)


Louise Lawler
“Vienna (mustard)”, 2018/2019
gelatin silver print in artist frame
57.8 x 45.1 cm
(framed: 78.1 x 64.8 cm)


Cameron Rowland
“Reasonable Suspicion”, 2020
Form DCJS 3205
34.5 x 50.5 x 3.5 cm
The NYPD incident report records the race of both the victim and suspect, but it only records the skin tone of the suspect. The suspect description functions to create a wanted profile that police seek to match. Matching a description in the vicinity of a reported crime is often considered enough to meet the standard for reasonable suspicion.
According to the NYPD COMPSTAT report, in 2019 Black people constituted 52.35% of misdemeanor and felony suspects and 60.3% of Stop, Question, and Frisk subjects.
In 2019 Black people constituted 24.3% of the city’s population.


R.H. Quaytman
“An Evening, Chapter 32”, 2017-2019
oil, silkscreen ink
and gesso on wood
50.8 x 82.2 x 1.9 cm


Cameron Rowland
“Management”, 2020
time horn clock
Overseers, using the master’s clock, would sound a horn or bell to signal the start or stoppage of work across the miles of the plantation. Plantation time management was enforced through punishment. The sound of the horn, dislocated from the governing clock, dictated the master’s claim to the time of enslaved life.


Louise Lawler
“Water to Skin (traced)”, 2016/2020
vinyl adhesive wall material


Louise Lawler
“Position (verb)”, 1982/2020
gelatin silver print
17.8 x 12.7 cm
(framed: 38.4 x 33 cm)


Louise Lawler
“Position (noun)”, 1982/2020
gelatin silver print
12.7 x 17.8 cm
(framed: 38.4 x 33 cm)