The FBI is the most recognized law enforcement entity in the world. During its nearly 100-year history, the Bureau has been involved in many controversies, most as a result of straying from its stated mission to investigate violations of federal law. This survey is based on personal papers of the former head of the Richmond Bureau, John Edward Lawler. Fortunately for historians, these files, many of which exist nowhere else in the agency's archives, open a window into the operational methods and investigative techniques of FBI agents. An examination of John Lawler's career provides insight into the conduct of field agents and Agents in Charge of field bureaus during the 1940s.

The purpose of this thesis is to examine the artistic production of photo artist Louise Lawler and the evolution of critical response to her work between the 1970s and 1990s. Of main concern are the manner in which early scholarship and exhibition reviews effectively situated Lawler's work within the discourse of institutional critique, a field of critical scholarship and artistic production that examines institutions of art such as museums and galleries. The objective of this thesis is to reexamine Lawler from a feminist art historical perspective using French feminist theory to investigate how her work can arguably be considered to be a feminist intervention into the patriarchal structures of museums, galleries, and connoisseurship. Lawler's dominant practice is photographic in nature, yet she does not consider herself a photographer. Like many artists of her generation Lawler has capitalized upon the indexical nature of the photographic medium, using it as a tool to create images that "document" art objects in situ. She has made her art in all the places in which artworks circulate or are displayed, be it the curated spaces of museums, an auction house or a private house, well-lit gallery show room walls or crowded and dark storage rooms. Throughout her forty-year career Lawler has worked to disrupt the patriarchy of the art world by drawing attention to philosophies of display and exhibition. She has shown us what is not on display within art systems by consistently showing us what is on display. She has refused to comply with systems or organization, crafting textual interventions that disrupt the linguistics of wall labels and titles of artworks. She has fragmented and dislocated the authorship of artists to their works, and she has appropriated curatorial practices to claim both the physical spaces of display and gain control of what objects are deemed valuable enough to be shown there. Lawler's work has consistently interrupted normative practices of art institutions, effectively disrupting the patriarchy inherent within the systems and structures to define art.

This is a study of the early work of the American artist Louise Lawler and her collaborators, including Christopher D’Arcangelo, Sherrie Levine, and Jenny Holzer. It centers on the New York art world between 1978 and 1983—a moment hailed as the end of avant-gardism and the birth of postmodernism—and examines the legacy and transformation of conceptual art and institutional critique by a new generation of artists during this period. Lawler’s practice is analyzed in relation to her Pictures Generation peers, so named for their affiliation with the non-profit space Artists Space (which mounted the influential exhibition "Pictures," curated by Douglas Crimp, in 1977) and the commercial gallery Metro Pictures, founded in 1980. The work of Pictures artists is united by its appropriation of images and texts that were culled from everyday life and modified through photographic strategies such as cropping, captioning, and juxtaposition. These artists, many of them women, developed a critique of representation—in Gayatri Spivak’s words, of "standing-for" and "speaking-for"—located at the crossroads of feminism and postmodernism. Though Lawler’s practice was understood as institutional critique at the moment of its emergence, she has since been historicized as a Pictures artist. This study understands her as a double agent who deliberately operates between and across spheres usually kept separate. In so doing, she refigures the practice of critique as a subtle form of maneuvering that I, following the artist, term finesse. The key contribution of Lawler’s work is a new understanding of power, informed by the politics of identity and difference, which accounts for the crucial importance of subjectivity and positioning in the act of critique.

Text in Afrikaans / Hierdie navorsing het ten doel om die verband tussen organisasieklimaat en werksmotivering te bepaaL Organisasieklimaat is met die Organisasiediagnosevraelys (ODV) gemeet en werksmolivering is met die Verwagtingsmotiveringsvraelys (VMV) gemeet, 'n skaal wat gefundeer is in die teoretiese model van Edward E Lawler, III, en deur die navorser aangepas is vir die steekproef en deur faktorontleding valideer is. Die interalcsie deur biografiese en organisatoriese veranderlikes (ras, geslag, hierargiese posvlak, werkspan, ouderdom en diensjare) is dear ontleding van variansie en korrelasieontleding ondersoek. AI die korrelasies tussen die hoofdimensies van organisasieklimaat en werksmotivering, met die uitsondering van valensie, ondersteun die navorsingshipoteses met totale organisasieklimaat en totale werlcsmotivering (volgens die Lawler-formule) se korrelasie gelyk aan 0,549 teen die 0,01 peil. Deur stapsgewyse regressie-ontleding is twee dimensies van organisasieklimaat, naamlik taakeienskappe asook bestuur en leierskap, gebruik om totale werksmotivering volgens Lawler se formule te voorspel. Ongeveer 30% van die variansie van werksmotivering is hierdeur voorspel. / The objective of this research is to determine the relationship between organisational climate and work motivation. Organisational climate was measured by the Organisational Diagnostic Questionnaire (ODQ), and work motivation was measured by the Expectancy Motivation Questionnaire (EMQ), a scale based on the model of Edward E. Lawler, III, and validated by means of factor analysis for the population. The interaction of the biographical and organisational variables on the main variables was studied by means of ANOVA as well as correlations. The correlation between total organisational climate and total work motivation (calculated according to the Lawler formula) was 0,549 at the 0,01 level, thus supporting the research hypothesis. By following the stepwise regression analytical procedures, the two dimensions of organisational climate (task characteristics and manager/leadership) used to forecast work motivation (as calculated by the Lawler formula), explained 30% of the variance of work motivation. / Industrial and Organisational Psychology / MCOM (Industrial and Organisational Psychology)

Text in Afrikaans / Hierdie navorsing het ten doel om die verband tussen organisasieklimaat en werksmotivering te bepaaL Organisasieklimaat is met die Organisasiediagnosevraelys (ODV) gemeet en werksmolivering is met die Verwagtingsmotiveringsvraelys (VMV) gemeet, 'n skaal wat gefundeer is in die teoretiese model van Edward E Lawler, III, en deur die navorser aangepas is vir die steekproef en deur faktorontleding valideer is. Die interalcsie deur biografiese en organisatoriese veranderlikes (ras, geslag, hierargiese posvlak, werkspan, ouderdom en diensjare) is dear ontleding van variansie en korrelasieontleding ondersoek. AI die korrelasies tussen die hoofdimensies van organisasieklimaat en werksmotivering, met die uitsondering van valensie, ondersteun die navorsingshipoteses met totale organisasieklimaat en totale werlcsmotivering (volgens die Lawler-formule) se korrelasie gelyk aan 0,549 teen die 0,01 peil. Deur stapsgewyse regressie-ontleding is twee dimensies van organisasieklimaat, naamlik taakeienskappe asook bestuur en leierskap, gebruik om totale werksmotivering volgens Lawler se formule te voorspel. Ongeveer 30% van die variansie van werksmotivering is hierdeur voorspel. / The objective of this research is to determine the relationship between organisational climate and work motivation. Organisational climate was measured by the Organisational Diagnostic Questionnaire (ODQ), and work motivation was measured by the Expectancy Motivation Questionnaire (EMQ), a scale based on the model of Edward E. Lawler, III, and validated by means of factor analysis for the population. The interaction of the biographical and organisational variables on the main variables was studied by means of ANOVA as well as correlations. The correlation between total organisational climate and total work motivation (calculated according to the Lawler formula) was 0,549 at the 0,01 level, thus supporting the research hypothesis. By following the stepwise regression analytical procedures, the two dimensions of organisational climate (task characteristics and manager/leadership) used to forecast work motivation (as calculated by the Lawler formula), explained 30% of the variance of work motivation. / Industrial and Organisational Psychology / MCOM (Industrial and Organisational Psychology)

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Cette thèse a été réalisée en cotutelle entre l'Université de Montréal (Histoire de l'art) et l'Université Paris 8 (Sociologie). / En 1967, l'artiste Sol LeWitt écrit dans son texte fondateur Paragraphs on Conceptual Art que l'art conceptuel nait essentiellement d'une idée, qui constitue par ailleurs l'élément principal de l'œuvre, et que lorsque toute la planification et les décisions sont arrêtées, l'exécution matérielle de l'œuvre d’art reste superficielle. Cette conception de l'art conceptuel a été reprise et développée par de nombreux artistes qui ont remis en question et défié le statut matériel de l'œuvre d'art. Certains artistes conceptuels ont même poussé le raisonnement plus loin en créant des œuvres réitérables, c'est-à-dire des œuvres qui sont constituées d’une idée initiale et primordiale, mais qui peuvent être physiquement (re)produites, non seulement par l'artiste, mais aussi par des tiers. Ainsi, Sol LeWitt a conçu une série de wall drawings, Lawrence Weiner ses célèbres Statements, Charlotte Posenenske une suite de modules désignés sous le nom de Reliefs, Félix Gonzàlez-Torres un ensemble d’amoncellements, ou stacks et Louise Lawler une séquence d'œuvres intitulée Tracings. Ces productions, qui ont rejoint les institutions artistiques, qu'il s'agisse de salles de vente, d'expositions ou encore de collections muséales, composent le corpus à l’étude. Cette thèse alliant histoire de l’art et sociologie s'attache à retracer et à étudier les facteurs qui influent sur la valeur symbolique et pécuniaire de ces œuvres atypiques, en accordant une attention particulière aux documents produits par les artistes et par les institutions. Notre étude s’ouvre ainsi sur les définitions, la reconnaissance et la valorisation des œuvres multiples au fil du temps, sur les récits autorisés et sur les constitutions des valeurs des œuvres, en faisant ressortir les notions à partir desquelles se constituent ces valeurs, soit l’authenticité, l’originalité, l’unicité et la matérialité. À partir des notions abordées dans cette première partie, nous proposons dans la suite de cette thèse une analyse spécifique du corpus dans les différentes sphères du monde de l'art, du musée à la maison de ventes, en passant par la galerie, et complétons par un examen des discours institutionnels. Cette étude nous permet d’analyser la manière dont les œuvres d'art reproductibles et réitérables ont été appréhendées par les artistes et les institutions artistiques au fil du temps, ainsi que les moyens utilisés par ces institutions pour les exclure ou les introduire dans le canon. Notre recherche vise ainsi à mieux saisir comment les mécanismes de formation des valeurs des œuvres dites traditionnelles sont transférés aux diverses manifestations d'une forme d'art non conventionnelle : l'art conceptuel réitérable. / In 1967, artist Sol LeWitt wrote in his seminal text Paragraphs on Conceptual Art that conceptual art is essentially born of an idea, which is also the main element of the work, and that when all the planning and decisions have been made, the material execution of the artwork remains superficial. This conception of conceptual art has been adopted and developed by many artists who have questioned and challenged the material status of the work of art. Some conceptual artists have even carried this line of reasoning a step further by creating reiterable works, in other words, works that are made up of an initial, primordial idea, but which can be physically (re)produced, not only by the artist, but also by others. Sol LeWitt conceived a series of wall drawings, Lawrence Weiner his famous Statements, Charlotte Posenenske a series of modules known as Reliefs, Félix Gonzàlez-Torres a series of stacks and Louise Lawler a sequence of works entitled Tracings. These works, which have found their way into art institutions such as auction houses, exhibitions and museum collections, constitute the corpus under study. This thesis combines art history and sociology to identify and study the factors that influence the symbolic and pecuniary value of these atypical works, paying particular attention to the documents produced by artists and institutions. This study thus opens onto the definition, recognition and valorization of multiple works over time, on authorized narratives and on the determination of value, highlighting the basis upon which these values are constituted: authenticity, originality, uniqueness and materiality. Based on the notions discussed in this first section, the remainder of this thesis closely analyzes the corpus within various spheres of the art world, from the museum to the auction house, via the gallery; and it is completed by an examination of institutional discourses. This study enables us to analyze the ways in which reproducible and repeatable artworks have been understood by artists and art institutions over time, as well as the means by which these institutions have excluded them from or introduced them into the canon. This project thus aims to better grasp how the value-forming mechanisms of so-called traditional works are transferred to the various manifestations of an unconventional art form: reiterable conceptual art.