Louise Lawler
R.H. Quaytman
Cameron Rowland

4 September 2020 -
24 October 2020

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
installation view
Galerie Buchholz, Köln 2020

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, R.H. Quaytman, Cameron Rowland

installation view
Galerie Buchholz, Köln 2020

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
installation view
Galerie Buchholz, Köln 2020

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

Cameron Rowland, R.H. Quaytman

installation view
Galerie Buchholz, Köln 2020

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

installation view
Galerie Buchholz, Köln 2020

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, mustard)”, 2018/2019
gelatin silver print in artist frame
57.8 x 45.1 cm
(framed: 78.1 x 64.8 cm)
installation view
Galerie Buchholz, Köln 2020

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, Louise Lawler

installation view
Galerie Buchholz, Köln 2020

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.

 

installation view
Galerie Buchholz, Köln 2020

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.

Cameron Rowland, R.H. Quaytman

installation view
Galerie Buchholz, Köln 2020

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
installation view
Galerie Buchholz, Köln 2020

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, Louise Lawler

installation view
Galerie Buchholz, Köln 2020

Cameron Rowland

“Management”, 2020
time clock horn

 

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.

 

installation view
Galerie Buchholz, Köln 2020

Cameron Rowland

“Management”, 2020
time clock horn

 

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
installation view
Galerie Buchholz, Köln 2020

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)
installation view
Galerie Buchholz, Köln 2020

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)
installation view
Galerie Buchholz, Köln 2020

Louise Lawler

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