![\"\"](\"http:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2010\/04\/lozano.jpg\" "\\"lozano\\"")
Lozano\u2026has spent much of the past 14 years wandering Dallas\u2019 darker byways and skidzones, and is not an unfamiliar figure along the lower extremities of Greenville Avenue.<\/span><\/p>\nShe is a walking secret history of the sometimes tragic late American avant-garde.<\/p>\n The fact that she is also quite mad prevents her from seeking help through any existing social-service resources.<\/span><\/p>\n Her father and mother died, having neglected to leave a will, in 1987 and 1990 respectively, and another six years passed before their estate was exhausted\u2014whereupon the aging orphan faced certain eviction and possible full-time life on the streets.<\/span><\/p>\n –excerpts from the Lee Lozano blog site MYTHING IN ACTION <\/a><\/span><\/p>\n During the 1960s, she showed in the most prestigious of New York’s galleries and museums, until one day she decided she wanted nothing more to do with the commodification of her work. Her writings became her work; soon enough, her life became her art, around the time she decided to stop talking to women and opted to leave behind the world that once embraced her. Even now, nearly an entire decade of her life remains unaccounted for. — <\/em>LEE LOZONO THE DROPOUT PIECE\u00a0 article by Robert Wolonsky: Dallas Observer News <\/a><\/span><\/p>\n “black and white is more perfect, more beautiful, more abstract, less associational, less tiring and less pretty than color” –Lee Lozano Notebook, Aug, 1, 1968<\/strong><\/span><\/span><\/p>\n Between the time I saw Lozano’s paintings in a barn in Pennsylvania, in 2001, and their appearance in Basel, their prices had rocketed from the low tens of thousands to nearly a million dollars…. Lozano’s rediscovery by the art world, as much as her withdrawal from it, belongs to a larger market dynamic. In the recent past, museums, galleries, critics, and auction houses have been reviving older and dead artists in earnest. Categories include the “artist’s artist” (as opposed to the collector’s artist, I suppose) who has been seen as minor but begins to look major (Mary Heilmann); the artist who enjoyed initial success but floundered when money got tight or when fashions changed (Alan Shields); the artist whose production was inconsistent or ephemeral (Tony Conrad). Not by coincidence, these rediscovered artists represent good value: Now construed as the product of integrity rather than of failure, their obscurity serves as a substitute for the obsolete category of the avant-garde; they even rival emerging artists as a source of speculative reward. As Nickas pointed out in a recent conversation, unlike the freshly minted art school graduate, the rediscovered artist comes complete with oeuvre and provenance. <\/em> — Katy Siegel, Free Library LEE LOZANO<\/a><\/p>\n “I WILL NOT CALL MYSELF AN ART WORKER BUT RATHER AN ART DREAMER AND I WILL PARTICIPATE ONLY IN A TOTAL REVOLUTION SIMULTANEOUSLY PERSONAL AND PUBLIC” – Lee Lozano Notebook, April 10, 1968
\n<\/span><\/p>\n“I paint stoned.\u201d<\/em>\u2014 Lee Lozano, 29 March 1969<\/h2>\n
PARTY PIECE (or PARANOIA PIECE<\/span>): describe your current work to a famous but failing artist from the early 60’s. Wait to see whether he boosts any of your ideas. – Lee Lozano , Notebook March 15, 1969<\/h2>\n
\u201cI have started to document everything because I cannot give up my love of ideas\u201d<\/strong>-Lee Lozano<\/strong><\/h2>\n
![\"\"](\"http:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2010\/04\/leelozano.jpg\" "\\"leelozano\\"")
…the more that I learn, the more it appears that she is the missing link\u2026to the wider societal mysteries and maladies that beguile most of us every day:\u00a0 madness, homelessness, what America does to its artists and what America\u2019s artists do to themselves.<\/p>\n“Confinement is the near root of all my rage.” <\/em>\u2014 Lee Lozano in her notebook on December 20, 1969<\/h2>\n
Lee Lozano was among the most celebrated conceptual artists of the 1960s. So why is she buried in an unmarked grave in Grand Prairie?<\/span><\/h3>\n
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\n<\/strong><\/span><\/span><\/p>\n“People (in some ways) are more important than art.” –Lee Lozano September, 1969<\/strong><\/h2>\n