Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Lee Lozano was an important, inventive and eccentric artist, and as one reviewer put it, a self-consciously 'bad-ass girl.' Her production truly deserved the title 'experimental'--daring, gutsy, precarious. Simultaneously driven by the art world and y a need to reject it, she produced a compelling range of work between 1962 and 1972. She made it her mission to be more radical than anyone else, and the dead end to which this led was self-inflicted. Although her motives elude and fascinate her admirers, perhaps above all she was 'avoid[ing] boredom,' as she once noted. Lozano's mind was always racing. Her attraction to esoteric mathematics and her attempts to translate its discipline into art reflected a need for order in a life that denied all other order--a life committed to juggling contradictions. Had she had succeeded in resolving them, she would've been bored." Lucy R. Lippard, excerpted from Cerebellion and Cosmic Storms in Lee Lozano.
Published by Hatje Cantz. Text by Iris Müller-Westermann, Jo Applin, Lucy R. Lippard, Benjamin Meyer-Krahmer.
The career of American artist Lee Lozano (1930-1999) was brief but extraordinarily intense. Throughout the 1960s, during the transition from Pop art to Minimalism and Conceptualism, and up until her self-imposed exile in the 1970s, Lozano created a genuinely radical and frequently obscene body of work that traversed a gamut of idioms. Her early paintings were executed in a messy cartoon style, oozing with violence and sexuality. By 1967, Lozano was responding to Minimalism and Op art with her abstract Wave paintings. It was also around this time that she initiated a series of actions that tested both the limits of art and acceptable conduct in society, such as smoking pot, masturbating and, mostly notoriously of all, boycotting women. This publication accompanies a retrospective of Lozano's works at Moderna Museet in Stockholm--works which after 40 years remain as witty, acerbic and shockingly fresh as ever.
Transiting Pop art, Feminist Expressionism, Conceptualism and Minimalism, Lee Lozano (1930–1999) sits alongside Eva Hesse and Hannah Wilke as a radical and influential model for younger generations of female artists. Lozano's notebooks, which she approached as drawings, and which were later dismantled and sold as individual pages, became a part of her artmaking at the height of her fame in the late 1960s. Reproduced here for the first time, as an affordably-priced facsimile reprint, the three notebooks collected here, which were kept between 1967–1970, contain sketches for her Wave paintings, writings about the trajectory of her artistic process and the language pieces that she became famous for prior to her withdrawal from the art world. They thus constitute the fullest and richest document on an artist whose relevance and profile have recently seen a steady ascent.
Published by Verlag Fur Moderne Kunst Nurnberg. Essays by Hans-Jrgen Hafner and Sabine Folie.
Lee Lozano (1930-1999) was an advocate of radical art, perhaps best known for her "boycott" of women: After the early 1970s she claimed she never spoke to a woman again. Near the same time, Lozano declared her retirement from the art world. Her drawings and paintings are overwhelming, urgent and transgressive, and later they became monochromatic. Her acidic raptures were far ahead of their time, but have come to prominence since: In 2004 P.S.1 hosted an important and widely reviewed posthumous exhibition. In this monograph, Kunsthalle Wien contrasts Lozano's work with that of Dorothy Iannone. While Iannone and Lozano are markedly different, Lozano's more hard-charging work shares with Iannone's an uncompromising attitude and determined political engagement, along with many visual characteristics. Their radicalism, humor and sometimes bitchy attitudes complement one another revealingly.