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This is the first in-depth study of the idiosyncratic ten-year career of Lee Lozano (1930-1999), assuring this important artist a key place in histories of post-war art. The book charts the entirety of Lozano's production in 1960s New York, from her raucous drawings and paintings depicting broken tools, genitalia, and other body parts to the final exhibition of her spectacular series of abstract "Wave Paintings" at the Whitney Museum of American Art in 1970. Highly regarded at the time, Lozano is now perhaps best known for Dropout Piece (1970), a conceptual artwork and dramatic gesture with which she quit the art world. Shortly afterwards she announced she would have no further contact with other women. Her "dropout" and "boycott of women" lasted until her death in 1999, by which time she was all but forgotten. This book tackles head-on the challenges that Lozano poses to art history-and especially to feminist art history-attending to her failures as well as her successes, and arguing that through dead ends and impasses she struggled to forge an alternative mode of living. 'Lee Lozano: Not Working' looks for the means to think about complex figures like Lozano whose radical, politically ambiguous gestures test our assumptions about feminism and the "right way" to live and work.

feminism --- artists [visual artists] --- Lozano, Lee --- Women artists --- Feminism and art --- Conceptual art --- 7.07 --- 741.07 --- Beeldende kunst ; 20ste eeuw ; Lee Lozano --- Vrouwelijke kunstenaars --- Lozano, Lee (Lenore Knaster) 1930-1999 (°Newark, New Jersey, Verenigde Staten) --- Feminisme --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Tekenkunst ; tekenkunstenaars A - Z --- Lozano, Lee, --- Knastner, Lee --- Criticism and interpretation.

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Art --- Sculpture --- art theory --- sculpting --- Brancusi, Constantin --- Andre, Carl --- LeWitt, Sol --- Oldenburg, Claes --- Johns, Jasper --- Morris, Robert --- Bourgeois, Louise --- Smithson, Robert --- Moore, Henry --- Kusama, Yayoi --- Judd, Donald --- Bochner, Mel --- Chamberlain, John --- Hesse, Eva --- Nauman, Bruce --- Samaras, Lucas --- Westermann, Horace Clifford --- Bontecou, Lee --- Man Ray --- Cornell, Joseph --- anno 1900-1999 --- United States of America

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Iconography --- Art --- Sculpture --- Painting --- installations [visual works] --- painting [image-making] --- performance art --- eroticism --- sculpting --- Kusama, Yayoi

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At the heart of Anj Smith’s output is painting – as a subject, a technology, a personal language, and a cultural signifier. The traditional subgenres of painting – landscape, portrait and still life – overlap in Smith’s works. Their sources of inspiration are manifold and include art history, literature, fashion subcultures, and the mysteries of the plant and animal world.

While musing over titles for the exhibition, Smith discovered the Crinoidea – the sea lilies and feather stars. The Crinoidea have always been with us, developing slowly, but remaining fundamentally unchanged. For Smith they have become a personal metaphor for painting.

Smith finds the language of oil painting especially rich for rendering her subject matter. She diversely deploys its various modes of expression: thick, translucent layers of paint, details painted with a fine brush, and pigments squeezed straight from the tube.

In her latest paintings Smith has addressed issues related to the fragility of identity and the complexity of gender, one influence here being a close friend who underwent a long, traumatic gender reassignment.

Smith admits that her latest portraits probably contain autobiographical elements – not on the level of physical resemblance, but of an internal state of mind. These psychological portraits are research into how the self or experience of the self can be depicted using the means of creative expression.

“My main medium is ideas rather than painting, although painting itself is also the subject of the work," Smith says. In her production she explores how art and life are mediated by the painted surface.

“One fascinating aspect of Anj Smith’s work is the way she combines traditional oil painting with conceptual contemporary art," says Museum Director Päivi Loimaala.

Anj Smith is a Sara Hildén Art Museum Collection artist. To coincide with her solo show, an exhibition of works from the Sara Hildén Foundation Collection, Sara Hildén and the Classics, is opening on the Museum’s ground floor.

Anj Smith will introduce her exhibition to the public at a meet-the-artist event at 11am on Saturday, September 22. The event will be in English.

Anj Smith – Sea Lily, Feather Star 22.9.2018–20.1.2019

Painting --- painters [artists] --- Smith, Anj