By Sarah Lehrer-Graiwer

The artist Lee Lozano (1930--1999) all started her occupation as a painter; her
paintings speedily developed from figuration to abstraction. within the overdue Sixties, she created
a big sequence of 11 monochromatic Wave work, her last
within the medium. regardless of her achievements as a painter, Lozano is better recognized for two
acts of refusal, either one of which she undertook as works of art: Untitled (General
Strike Piece)
, began in 1969, during which she minimize herself off from the
advertisement paintings international for a time; and the so-called Boycott Piece,
which begun in 1971 as a month-long scan meant to enhance verbal exchange but
turned an everlasting hiatus from chatting with or at once interacting with girls. In
this publication, Sarah Lehrer-Graiwer examines Lozano's Dropout Piece,
the fruits of her perform, her maximum scan in paintings and endurance,
encompassing all her withdrawals, and finishing in simple terms together with her burial in an unmarked

And but, even supposing Dropout Piece is
between Lozano's most crucial works, it might probably no longer exist in any respect. there's no
traditional art to be exhibited, no functionality occasion to be documented.
Lehrer-Graiwer perspectives Dropout Piece as leveraging the artist's
complete perform and embodying her inventive intelligence, her radicality, and her
depth. Combining paintings background, analytical inquiry, and journalistic
research, Lehrer-Graiwer examines not just Lozano's act of dropping by the wayside but
additionally the evolution through the years of Dropout Piece within the context of
the artist's perform in long island and her next existence in Dallas.

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15, no. 12) of The Village Voice. showing on web page 4, this comic strip depicts Feiffer’s dancer mendacity flat at the flooring on her again whereas younger males examine and debate no matter if her place is ‘a protest or a cop out’, ‘a rejection’ or ‘acceptance of society’. The dancer solutions, ‘I’m mendacity right here as paintings. ’ Then she provides within the subsequent body, ‘It’s a dance to spring. ’ sooner than relocating on, one of many males observes that ‘a paralyzed dancer’ is ‘a very robust comment’, whereas the opposite labels her motion as ‘a center category cop out’. The dancer has the ultimate, pondering aloud to herself, ‘Whatever occurred to artwork? ’ 31 NB8, five April 1970, p. a hundred and twenty. See fig. three during this e-book. 32 L. Lozano, Untitled (1970), reproduced in A. Szymczyk, (ed. ), Lee Lozano, op. cit. , p. 193. 33 Ibid. 34 Quoted in Robert Wilonsky, ‘The Dropout Piece’, Dallas Observer, nine December 1999, p. 2. Sidney Knaster used to be a furnishings patron. This and such a lot information regarding Lozano’s early biography might be sourced to the obituary by means of Wilonsky. See http://www. dallasobserver. com/1999-12-09/news/the-dropout-piece (last accessed on 2 October 2013). 35 L. Lozano, Untitled (1970), reproduced in A. Szymczyk, (ed. ), Lee Lozano, op. cit. , p. 193. 36 Ibid. 37 Ibid. Dropout Piece | ninety seven 38 Ibid. 39 Letter from Kes Zapkus, sixteen September 2007. forty while Queen Elizabeth II visited the paintings Institute of Chicago’s annual pupil exhibition in 1959, everybody, even the newspaper, spotted that she singled Lozano out admiringly. ‘“That was once the excessive point,” Adrian Lozano acknowledged. “I suggest, the Queen of britain comes by way of, pauses, talks to you, shakes your hand and asks you a query. Lee used to be excited. She instructed every person. ”’ See R. Wilonsky, ‘The Dropout Piece’, op. cit. , p. three. forty-one NB5, 22 January 1970, p. seventy nine. forty two based on her neighbour Billy Bryant Copley, their Grand road development housed the Aztec Clay Moistener corporation, which made fabrics for cigar humidors, and the energetic Hat corporation, which made hats. A present resident (Turid Meeker in dialog 21 may possibly 2007) acknowledged the construction additionally had a lace manufacturing facility, and that there was once piles of the stuff mendacity round. Lozano’s notebooks contain this remark: ‘good factor I received that lace. Landlord (Mr. Louis Rubin) bought bldg at the present time & i must disguise safeguard via Mon’. NB2, sixteen could 1969, p. 36A. She often known as cash ‘lace’. forty three Dennis Adrian, ‘Lee Lozano’, Artforum, vol. five, no. five, January 1967, p. 60. forty four There are 11 panels simply as there are 11 inner most notebooks. forty five ‘Making Waves: The Legacy of Lee Lozano’ (David Reed interviewed through Katy Siegel), Artforum, vol. forty, no. 2, October 2001, p. 25. forty six NB7, February 1970, p. 148. forty seven NB9, may well 1970, p. thirteen: ‘As wavelengths of strength get longer, the motion solidifies, that's, becomes subject. desire the Wave sequence makes this evident’. forty eight NB6, February 1970, p. fifty two: ‘Artforum advert (another new one): Lee Lozano waves on the Whitney’. forty nine ‘The ’60s in summary: thirteen Statements and an Essay’ (ed. Maurice Poirier and Jane Necol), paintings in the US, vol. seventy one, no. nine, October 1983, p. a hundred thirty five. 50 NB2, four July 1969, p. ninety. fifty one NB4, 14 September 1969, p.

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