A handsome and hefty clothbound compendium of Lozano’s explorations of gender through drawing
This 640-page volume comprises drawings from a critical six-year period in the development of American painter and conceptual artist Lee Lozano’s (1930-99) practice. Her daring, facetious sketches investigate issues of gender and the body through the erogenous anthropomorphization of tools.
Lee Lozano: Drawings 1958-64 includes two newly commissioned essays by Helen Molesworth and Tamar Garb. “What I love about Lozano—besides the crazy, ham-fisted quality of her drawn line, pictures made with pencils that appear to have been held with a fist—is how her demonstration of the word 'connection' is not bound to any of the anodyne ways we currently use it,” writes Molesworth. “There’s nothing about 'listening' or 'building community' or 'empathy' in any of these drawings. For Lozano, connection is fraught and hairy. Connection is dangerous.”
Featured image is reproduced from 'Lee Lozano: Drawings 1958–64.'
STATUS: Forthcoming | 8/3/2021
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FORMAT: Hbk, 7.25 x 9 in. / 640 pgs / 568 color. LIST PRICE: U.S. $75.00 LIST PRICE: CANADA $105 GBP £65.00 ISBN: 9781949172409 PUBLISHER: Karma Books, New York AVAILABLE: 8/3/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Forthcoming AVAILABILITY: Awaiting stock TERRITORY: WORLD
A handsome and hefty clothbound compendium of Lozano’s explorations of gender through drawing
Published by Karma Books, New York. Text by Tamar Garb, Helen Molesworth.
This 640-page volume comprises drawings from a critical six-year period in the development of American painter and conceptual artist Lee Lozano’s (1930-99) practice. Her daring, facetious sketches investigate issues of gender and the body through the erogenous anthropomorphization of tools.
Lee Lozano: Drawings 1958-64 includes two newly commissioned essays by Helen Molesworth and Tamar Garb. “What I love about Lozano—besides the crazy, ham-fisted quality of her drawn line, pictures made with pencils that appear to have been held with a fist—is how her demonstration of the word 'connection' is not bound to any of the anodyne ways we currently use it,” writes Molesworth. “There’s nothing about 'listening' or 'building community' or 'empathy' in any of these drawings. For Lozano, connection is fraught and hairy. Connection is dangerous.”
