Lucrezia Calabrò Visconti – författare
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Focusing on the artist’s daring and provocative paintings, this new publication offers a fascinating introduction to Lee Lozano’s pioneering practice. During her short but prolific career, Lee Lozano produced a body of work of striking formal breadth and complexity, ranging from expressionist figurative drawings and paintings to minimalist abstract canvases and, finally, the late conceptual works for which she become well-known. An illuminating text by Lucrezia Calabrò Visconti—co-curator of 'Lee Lozano: Strike', a major survey exhibition that travelled from Turin’s Pinacoteca Agnelli to Paris’s Bourse de Commerce — is accompanied by a meticulous exhibition history that features a wealth of ephemera and archival material. Remembered for her withdrawal and ultimate rejection of the art world, Lozano produced an oeuvre united by her determination to expose the ruthless division of the world into categories such as gender and to reject capitalism’s demand for constant production. Capturing the unapologetic confidence and striking complexity that defined the artist’s singular practice, In the Studio: Lee Lozano is an excellent resource for both newcomers and longtime admirers of Lozano’s radical work.
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The radical painter-conceptualist reviewed, from strike pieces to tool paintingsThis volume brings together a broad selection of the work of artist Lee Lozano (1930–99), representing the whole of her brief but prolific career. Trained as a painter, Lozano made a name for herself in the New York art world of the 1960s with a versatile output comprising painting on the one hand and conceptual practice on the other.While working in the social and artistic context of the time, Lozano maintained a position radically opposed to any form of categorization. Strike surveys the different periods of her work, from figurative drawings and paintings in an Expressionist style to the large oils on canvas titled Tool Paintings, and following their formal evolution toward minimalist abstraction. The project also includes a selection of her Language Pieces, works that mark the artist’s shift to an exclusively conceptual phase that reached its conclusion in 1972 with Dropout Piece.