A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.
Auction houses run a rigged game. They know exactly how many people will be bidding on a work and exactly who they are. In a gallery, works of art need only one person who wants to pay for them.
Now people look at 'The Scream' or Van Gogh's 'Irises' or a Picasso and see its new content: money. Auction houses inherently equate capital with value.
One argument goes that recessions are good for female artists because when money flies out the window, women are allowed in the house. The other claims that when money ebbs, so do prospects for women.
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