By Sarah Lehrer-Graiwer
Lee Lozano’s Dropout Piece (begun c.1970) is certainly one of her such a lot hard and elusive works. at first, it's the identify Lozano gave to her self-imposed transformation from artwork global insider to outsider. it's also a large-scale motion performed with lifelong, certainly posthumous, results.
Sarah Lehrer-Graiwer provides Dropout Piece as a very good test in paintings and patience. Situating the paintings in the context of ‘Life-Art’ items comparable to discussion Piece, common Strike Piece, Grass Piece and Boycott girls, she demonstrates how Dropout Piece shows a rare variety of creative intents. Drawing heavily upon Lozano’s deepest notebooks, Lehrer-Graiwer argues that Dropout Piece nonetheless haunts the paintings international this day as oral historical past, ephemera and delusion, and divulges how Lozano’s perform complicated the connection among language and function and among inner most idea and pressing motion. This name is a part of the single paintings e-book sequence, which makes a speciality of the artistic endeavors that experience considerably formed the way in which we comprehend paintings and its background.
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Additional resources for Lee Lozano: Dropout Piece (One Work Series)
Which is to say, she explicitly did not pick an off-the-radar secluded locale, but opted for the environs of a high-traffic, countercultural epicentre for her hideout in plain sight. It is safe to say Lozano continued to be deeply ambivalent about the art world, but she had an influence on those around her. ’170 She was a regular visitor in the backroom at 3 Mercer Street Store, Stefan Eins’s alternative gallery, which was host to, among other things, Sherrie Levine’s first New York show ‘Shoe Sale’, in 1977; and frequented Jaap Reitman’s famed art bookstore at West Broadway and Spring Street, a hub where artists congregated and Morehead worked part-time.
But it turns out withdrawal first manifested itself socially, as a shift to another generation’s peer group, before it did geographically. In middle age, she switched from her established community of now-canonised peers to the younger, untested Bowery punk scene that was more marginal, self-destructive and decidedly not professional. 168 Consider, too, that Lozano tailored her ‘Life-Art’ activities to be received specifically by her new target milieu, by the individuals she chose to surround herself with.
Scene determined the kind Dropout Piece | 49 of provocations she initiated. Seeking rejuvenation, she gravitated toward younger men. Morehead grounds Lozano definitively in New York in the middle of that supposedly lost decade, post-Dropout. He first met her at her studio in December of 1971, while visiting the city, and he was immediately hooked. He kept in loose contact during graduate school, first at the University of Wisconsin–Madison, then at the Nova Scotia College of Art and Design. 169 In addition, Lozano kept a cheap room of her own in a run-down single-room-occupancy tenement at Second Ave and Fourteenth Street, near to the Palladium, where so many bands, from Bruce Springsteen and Iggy Pop to Television and the Ramones, played in the 70s and artists, most famously Warhol, became regulars.