By Sarah Lehrer-Graiwer
The artist Lee Lozano (1930--1999) begun her profession as a painter; her
paintings swiftly developed from figuration to abstraction. within the past due Sixties, she created
an incredible sequence of 11 monochromatic Wave work, her last
within the medium. regardless of her achievements as a painter, Lozano is better identified for two
acts of refusal, either one of which she undertook as artistic endeavors: Untitled (General
Strike Piece), all started in 1969, within which she reduce herself off from the
advertisement paintings international for a time; and the so-called Boycott Piece,
which all started in 1971 as a month-long test meant to enhance verbal exchange but
turned an everlasting hiatus from talking to or at once interacting with ladies. In
this publication, Sarah Lehrer-Graiwer examines Lozano's Dropout Piece,
the fruits of her perform, her maximum scan in artwork and endurance,
encompassing all her withdrawals, and finishing simply along with her burial in an unmarked
And but, even if Dropout Piece is
between Lozano's most vital works, it will probably now not exist in any respect. there's no
traditional paintings to be exhibited, no functionality occasion to be documented.
Lehrer-Graiwer perspectives Dropout Piece as leveraging the artist's
whole perform and embodying her artistic intelligence, her radicality, and her
depth. Combining artwork background, analytical inquiry, and journalistic
research, Lehrer-Graiwer examines not just Lozano's act of falling by the wayside but
additionally the evolution over the years of Dropout Piece within the context of
the artist's perform in manhattan and her next lifestyles in Dallas.
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Additional info for Lee Lozano: Dropout Piece (AFTERALL)
This publication resists being closed on Dropout Piece simply because this one work’s staggering temporal size elevates and extends its parameters, to envelop its ongoing reception and still-unfolding ramifications – of which i'm an energetic half. • and that i nonetheless felt the nagging have to stick to Lozano’s tracks to Dallas, turning detective paintings into pilgrimage. I wouldn’t are looking to the center fan-atical impulse she conjures up that admires punk heroes all of the extra for being selfdestructive fuck-ups. Her entire perform sings via Dropout Piece as its foul mouth. I nonetheless are looking to catch up with to the artist, which has every little thing to do with the space installed position by way of her absence, either non-compulsory in lifestyles and everlasting in demise. Fading out of view, my topic slips into the atmospherics of mourning. at the overcast, muggy gray day that I chased elusive capital-E endings in Dallas, the Shenandoah flats appeared to me a dark brick castle stinking of stale cigarettes and cat piss. Dreary and desolate, just like the overgrown grounds of Southland Memorial Cemetery in Grand Prairie, scattered with tilted headstones, faux plant life and plastic pinwheels, the place E’s physique lies in an unmarked grave lower than grass and weeds: area three, lot 238, block 1, part H, case quantity NC 4951–99. As together with her ‘only actual identify’ first and foremost, identification again in spite of everything to a coded set of numerical coordinates, chilly proof. I took away a cup of her dust for growing to be grass in. yet i used to be trying to find indicators of E’s power within the unsuitable locations, impending websites too without delay for an artist who mastered absence and being in different places. all of the eupeptic motion i used to be trying to find lay outdoor, no longer the place she had lived yet at the floor of the house development round the corner, the place a tremendous wood sign up the façade learn in looping white letters: ‘Leeward 60 | Lee Lozano Islands’. The incongruous and inconceivable ‘leeward’ hovered like a big arrow hidden in simple sight and encrypting her ripple results in crusing terminology that refers to dealing with an analogous path the wind is blowing towards – Lee winking at lee-word. On an undated scrap of extant ephemera, Lozano drew a small examine (fig. 18) for an imagined sequence of Island work (also written as ‘i(s)land’, ‘I land’ and ‘Eyeland’) that remained unrealised, fastened purely in her mind’s eye: ‘At final, in any case this (blank) time, i've got a want! ’ To be a leeward island, dealing with the longer term with the wind at her again. Dropout Piece | sixty one 62 | Lee Lozano 1–3. Lee Lozano, computer eight, five April 1970, pp. 113–14 pp. 115–16 pp. 119–20 4. Lee Lozano, funding Piece, 1969, xerography, 32. 1 × 21. 6cm 5. Lee Lozano, normal Strike Piece, 1969, graphite and ink on paper, 27. nine × 21. 6cm Wadsworth Atheneum Museum of paintings, Hartford, CT 6. Lee Lozano, Piece, 1969, ink on paper, 27. nine × 21. 6cm 7. Lee Lozano, Grass Piece, 1969, xerography, 32. 1 × 21. 6cm 8. Lee Lozano, No-Grass Piece (part 1), 1969, graphite and ink on paper, 27. nine × 21. 6cm 9. Lee Lozano, No -Grass Piece (part 2), 1969, graphite and ink on paper, 27.