ARTBOOK BLOGEventsStore NewsMuseum Stores of the MonthNew Title ReleasesStaff PicksImage GalleryBooks in the MediaExcerpts & EssaysArtbook InterviewsEx LibrisAt First SightThe Artbook 2023 Gift GuidesArtbook Featured Image ArchiveArtbook D.A.P. Events ArchiveDATE 11/1/2024 Celebrate Native American Heritage Month!DATE 10/26/2024 Join Artbook | D.A.P. at Shoppe Object High Point, 2024DATE 10/20/2024 'Mickalene Thomas: All About Love' opens at Philadelphia Museum of ArtDATE 10/17/2024 ‘Indigenous Histories’ is Back in Stock!DATE 10/16/2024 192 Books presents Glenn Ligon and James Hoff on 'Distinguishing Piss from Rain'DATE 10/15/2024 ‘Cyberpunk’ opens at the Academy Museum of Motion PicturesDATE 10/14/2024 Celebrate Indigenous artists across the spectrumDATE 10/10/2024 Textile as language in 'Sheila Hicks: Radical Vertical Inquiries'DATE 10/8/2024 Queer history, science-fiction and the occult in visionary, pulp-age Los AngelesDATE 10/6/2024 The Academy Museum comes on strong with 'Color in Motion: Chromatic Explorations of Cinema'DATE 10/1/2024 Cooper Union presents Glenn Ligon launching 'Distinguishing Piss from Rain' in conversation with Dr. Kellie Jones & Julie Mehretu with readings by Helga DavisDATE 10/1/2024 Chicago's Athenaeum Center presents Roger and James DeakinsDATE 10/1/2024 A poetic manifesto on labor inequity from George Saunders and Joshua Lutz | EVENTSMADDIE GILMORE | DATE 1/17/2017Lee Lozano: Private Book 1In the 1960's, Lee Lozano was living and working in New York, painting her own kind of heavy, bodily, manic work – rather than conforming to the then-dominant modes of Abstract Expressionism and Pop – and garnering the recognition of the art world corpus of galleries, museums and magazines. Simultaneously, she initiated a body of aesthetically opposite conceptual artworks called Language Pieces--scribbled, mostly instructional or task-oriented notes generally written in ink on standard 8 1/2 x 11 paper. Lozano considered these works "'drawings,' eliminating any distinction between them and her more traditional studio practice," according to Helen Molesworth's excellent text in Karma's illuminating new monograph, Lozano c. 1962. And yet, except for the fact that they were singled out as art objects, the Language Pieces are nearly identical to the journal pages that Lozano penned around the same time. |