Gallery News for Liza Lou
Liza Lou in San Francisco
Liza Lou appears on the exhibition Home Land Security at Fort Winfield Scott at Langdon Court. Occupying a suite of former military structures in the Presidio overlooking the San Francisco Bay, Home Land Security brings together works by contemporary artists and collectives from around the globe to reflect on the human dimensions and increasing complexity of national security, including the physical and psychological borders we create, protect, and cross in its name. Until December 18, 2016
Liza Lou at the Neuberger Museum of Art in Westchester, NY
Liza Lou’s installation Color Field, the artist’s largest sculpture to date is exhibited at the Neuberger Museum of Art Westchester, NY, until 3 March 2016. The work challenges traditional definitions of painting, sculpture, and craft in her dazzling installations made entirely of glass beads. The abstract work of over two million glass beads arranged in brilliantly coloured squares carpets nearly the entire floor of the Neuberger Museum of Art’s largest gallery. Lou originally created Color Field in Durban, South Africa, where she lived from 2005 to 2014, working with a team of nearly 30 Zulu women artisans. The exhibition also includes Lou’s Solid Gray and Color/White canvases, a series of monochromatic woven beaded works in various hues. On 7 November, at the opening Lou was handed the 2015 Neuberger Museum of Art Passionate Artist Award.
Liza Lou at the University of Connecticut
Work by Liza Lou forms part of the exhibition Painting @ the very edge of Art at the Contemporary Art Galleries, University of Connecticut from 14 September to 4 December. The exhibition features nine international artists who approach painting as a generative process open to redefining materials and handling of the traditional pictorial plane. It reconsiders the boundaries of the discipline, questioning what it means to create works that reference the painting practice at this contemporary moment. Artists embracing the traditional four-corner canvas, with its flat two-dimensional surface referencing early European modernism mid-century Minimalism, Op-Art and Color-Field include Liza Lou, Jason Middlebrook, Donald Moffett, Dianna Molzan, Guillermo Pfaff, Zak Prekop, Cordy Ryman and Mika Tajima.
Liza Lou in Kansas
Lisa Lou’s installation Gather (one Million) is installed at Wichita Museum of Art in Kansas until 13 September. The work presents a “shimmering 150-square-foot golden field” according to the gallery statement, and comprises nine million beads in varying shades of gold threaded onto cut wire to make one million blades of grass.
Goodman Gallery is pleased to present Canvas, the first exhibition in South Africa by American artist, Liza Lou.
In 2005, Lou first travelled to South Africa to initiate an art project with Zulu beadworkers. Starting with 12 women from the surrounding townships of KwaZulu Natal, Lou’s project has continued to flourish and has now grown to a collective of over 25 artisans. Lou’s commitment to this community of Zulu women and to the exploration of process and test of the limits of her chosen material has led to a minimal, contemplative practice in which the material has become the subject.
For the exhibition at Goodman Gallery, Lou explores the surface normally accepted as the ground for art – the canvas – making it into the subject of the work, but instead of cloth, the “canvas” here is woven out of unified, off-white glass beads. Though each woven painting in the exhibition is for the most part comprised of an identical off-white bead, each carries with it quiet evidence of the individual weavers’ lives, inextricably woven into each stitch. Ruptures, pock marks and streaks stain the surfaces – physical reminders of their slow making amidst the daily struggle of rural family life. The resulting works offer quiet and sublime meditations on looking and on the nature of beauty and perfection.
Liza Lou’s South Africa project – a private initiative – offers ongoing beadwork commissions to facilitate sustainable income to a highly skilled yet neglected sector of Zulu women. Lou has established wellness programmes, created scholarships, and fostered entrepreneurial and beadwork skills to help create a lifeline for Zulu artisans upon which to build and improve their lives.
Liza Lou has participated in numerous solo gallery and museum exhibitions internationally including Museum Kunst Palast, Düsseldorf; Henie Onstad Kunstsenter, Oslo; Museum of Contemporary Art, San Diego; SCAD Museum of Art, Savannah; Bass Museum of Art, Miami; Santa Monica Museum of Art, Santa Monica, Fondació Joan Miró, Espai 13, Barcelona; White Cube, London and Galerie Thaddaeus Ropac, Paris. Lou has participated in numerous group museum exhibitions including the Serpentine Gallery, London; Metropolitan Museum of Art, New York; Cleveland Museum of Art, Cleveland; Museum of Contemporary Art, Los Angeles; Palais de Tokyo, Paris and Museum of Contemporary Art, Tokyo, Taipei Fine Arts Museum, Taipei and the Biennale de Lyon d’art Contemporain, Lyon, France. Lou is the recipient of a 2002 MacArthur Foundation Fellowship and a 2013 Anonymous Was a Woman Award.
Goodman Gallery Cape Town
15 December 2016 – 14 January 2017
Lisa Brice / Kudzanai Chiurai / David Goldblatt / Alfredo Jaar / Samson Kambalu / Kendell Geers / William Kentridge / Liza Lou / Gerald Machona / Gerhard Marx / Shirin Neshat / Walter Oltmann / The Brother Moves On / Jessica Webster
For its end-of-year Summer Show, Goodman Gallery Cape Town has gathered together a selection of important pieces from both new and existing bodies of work by its artists. Taken as a whole, the show presents a textured and vibrant series of engagements with the artists’ social and political environments through photography, sculpture, drawing, prints and video. The exhibition serves an as opportunity to show works not yet seen in Cape Town, and to introduce visitors to artists newly represented by the gallery.
Despite its title, David Golblatt’s A family picnic in the north-west. 15 August 2009 focuses on a macro view of the landscape and structures in which this human scene is taking place. The photograph illustrates Goldblatt’s change in narrative style since shifting to working in colour. As writer Christoph Danelzik-Brüggemann says in the book Intersections: “In parallel with a continued emphasis on striking human situations, in landscapes he developed a visual language that accorded more meaning to space than to time. The formats became larger and a plethora of extremely precisely recorded details (blades of grass, stones, person) combined to form tableaux which the viewer’s eye can explore at leisure. As an overall picture emerges from these details, the viewer becomes aware that the image tells of our times, of the people who live in this land, and of the forces that shape it.”
Walter Oltmann’s Bristle Disguise uses woven alumnium and razor wire to reference local craft traditions. Covered in spikes that recall both the elaborate dress often used in ritualised African dance and the pulsating energy radiated in the activity, his bodysuit merges craft and art. Oltmann has researched and written extensively on the use of wire in African material culture in South Africa and is deeply interested in the influence of these traditions in contemporary South African art. “In my sculptures I use images of natural phenomena (human, plant and animal) and play with the idea of mutation, hybrids and reconfiguring the familiar. Through dramatically enlarging and/or transposing features of one to the other, I play with the paradox between vulnerability and the monstrous. Using the language of craft, my artworks are always a product of labour and time,” he says.
In 2005, American artist Liza Lou first travelled to South Africa to initiate an art project with Zulu beadworkers. Starting with 12 women from the surrounding townships of KwaZulu-Natal, Lou’s project has flourished and has now grown to a collective of over 25 artisans. Her commitment to this community of Zulu women and to exploring the process and testing the limits of her chosen material has led to a minimal, contemplative practice in which the material has become the subject. Untitled #13 is a prime example of the end result; a formal object that, through subtle imperfections, bears witness to the manual labour and personal investment at stake.
Country of my skull was one of the installations included on The Brother Moves On’s solo exhibition, Hlabelela, at Goodman Gallery Johannesburg. The exhibition questioned each member’s personal histories, cultural background and beliefs as a means of unsettling the idea of a homogenised black experience and its acceptance by white art institutions and discourse. The performances, installations and videos explored the complex identity of black youthful opposition but also questioned whether these contemporary traditions can exist within the established traditions of art institutions and art discourse.
Lisa Brice’s Well Worn 5 was part of a body of work that featured a cast of female protagonists engaged in autobiographical acts of looking and being looked at. Grooming, making up, stripping down, dressing up within the confines of domestic, private or veiled interiors, they range from depictions of adoration and loathing, to defiance and reinvention. The mirror reflection reoccurs as a central motif, simultaneously functioning as an alter-ego and an imagined audience beyond the private, as well as a formal device within the painting.
In Life Magazine, April 19, 1968, Alfredo Jaar deconstructs a renowned photograph of Martin Luther King’s funeral that provides a stark visual essay on the racial prejudices that lead to King’s assassination. The work typifies Jaar’s interest in the politics of images: their effect on modern society ”bombarded by thousands of images without warning, without mercy, containing messages of consumption crafted by marketing and communications experts”. He directs the viewer to the parts of the visual experience that they may not have considered in their reckoning of who has power, who does not, and why.
Samson Kambalu’s Nyau Cinema consists of site-specific performances captured on and made in conversation with the medium of film. Born in Malawi and now based in London, Kambalu regards his work as a form of playful dissent that fuses the Nyau gift-giving culture of the Chewa, the anti-reification theories of the Situationist movement and the Protestant tradition of inquiry, criticism and dissent. “In my tribe, the Chewa, excess time and resources are not sold; instead it is squandered in ‘useless’ activities such as the arts, funerals, initiations etc. – all led by Nyau masks,” he says. “The role of the Nyau mask is thus to orchestrate the giving of gifts,” which in a capitalist culture, he explains, would be considered the squandering of surplus time and wealth. He invokes the concept of “Gule Wamkulu” (literally the “Great Play”), a ritual masked dance performed by the Chewa, which he describes as “really the creation of ‘Situations’, where a gift can be given without incurring a debt”.
Gerhard Marx’s Transparent Territory series consists of drawings that have been constructed from the fragments of decommissioned and discarded terrestrial maps. The focus in these works is on the act of taking the flat, rectangular depictions of landmass and territory (which maps are intended to be), and reconfiguring them into mineral-like geometric constructions in which folds, facets and overlays construct spatial illusions along with a sense of depth and interiority within the flatness of the map. The series takes inspiration from early depictions of perspectival illusion, most notably Giotto’s clustering of architectural structures. The works also burrow into the flatness of geographic depiction through an act of ‘cartographic mining’, in which the solidity of the earth’s surface is ruptured into a transparent palimpsest of geography and historical time that undermines the authority and singular viewpoint of the two-dimensional map.
Kudzanai Chiurai’s Genesis [Je n’isi isi] CI and Genesis [Je n’isi isi] XI, from his photographic series of the same name, recount the stories of the men who ventured with Livingstone into unexplored territories in central Africa. They included other Europeans who sought similar adventures and the porters and guides who bore the weight of their supplies as well as slaves freed from Arab slave traders. It re-imagines Livingstone’s journey with the guiding principles that Christianity and commerce were inseparable.
Drawing is at the heart of William Kentridge’s artistic practice, forming the basis for works in other media, particularly film. South Africa’s preeminent contemporary artist, Kentridge has earned international acclaim for his layered and complex work, which includes operas, theatre productions and films incorporating his own sculpture and drawings as well as collaborations with dancers and composers. Waiting for the Fire, a large-scale drawing in Indian ink, illustrates his facility as a draughtsman, clearly evident in the animated charcoal drawings that first brought him to the world’s attention.
In the series Our House Is On Fire, originally made as a special commission for the Rauschenberg Foundation, Shirin Neshat was inspired by time she spent in Egypt in the aftermath of the revolution in 2011. In close-up portraits and details of hands and feet, meticulously inscribed with the words of poets of the Iranian revolution, Neshat tells a story of loss and mourning particular to her subjects and simultaneously universal.
In Untitled (Influx I) Gerald Machona has collaborated with Mozambican choreographer Guiamba to create a performance-based installation that seeks to transform migratory objects and garments. A Zimbabwean now living in South Africa, Machona’s work has dealt repeatedly with the theme of migration. Crucial to this artwork is an attempt to disrupt the 55-minute hour scheme used by Cape Town garment factories, where an assembly line of seamstresses was governed by a clock that would run 55 minutes of production and 5 minutes of recess every hour. Rather than rely on a clock to keep time and a metronome to indicate tempo, the artists have drawn rhythm from a sewing machine to stitch together the dance and installation.
Every year Jessica Webster dedicates some time to working as roughly and freely as possible with ink and bleach on paper. “By now I have amassed a huge stack of A3 works, but I see this set of earlier pieces as some of the most successful.” Using ink and paper allows the artist “to get back in touch with some of the fundamentals of my practice: this is the relationship between the two-dimensional surface and the imaginary spaces that composition orders,” she says. Inks 1-15 references Sol Le Witt’s series of drawings Variations of Incomplete Open Cubes (1974). “While Le Witt’s work is interpreted as symbolising the purely visual metaphors of rationality and the Enlightenment subject, my painted copies evoke the more fragile and unstable aspects of geometry. Using Le Witt’s series as readymade references me to focus on how the bare minimum of painterly strokes can create conflict between the sense of depth caused by geometrical perspective and the fluidity and gesturality of hand-painted lines. In some of the works I continue this investigation with other objects, provoking the imaginary sites upon which geometry and order comes to be projected.”
Goodman Gallery Cape Town
2 June – 20 July
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery’s history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery’s history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery’s ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world’s most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery’s programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery’s transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
Goodman Gallery Cape Town
23 July – 29 August
Broomberg & Chanarin / Carla Busuttil / Nolan Oswald Dennis / mounir fatmi / Kendell Geers / David Goldblatt / Haroon Gunn-Salie / Alfredo Jaar / William Kentridge / Kapwani Kiwanga / Liza Lou / Gerald Machona / Lorna Simpson / Mikhael Subotzky / Hank Willis Thomas / Jeremy Wafer
Edge of Silence is a group show featuring artwork by some of Goodman Gallery’s leading contemporary artists.
The title is taken from a light box with transparency created by Alfredo Jaar that illuminates the words ‘OTHER PEOPLE THINK’, a quote from the youthful writings of John Cage in which Cage “affirms silence as an opportunity to learn what other people think.” Jaar’s light box follows this practice with a kind of silence opens up a space for listening by disrupting our thoughts and perceptions, inviting us to step outside ourselves.
Sleeping, a recurring motif in Kentridge’s work, is used as a metaphor for a state of self-imposed blissful ignorance in which the outside world may be forgotten as the sleeper closes herself off into her internal world. This notion, coupled with the fragility and transparency of glass, evokes a dangerous situation leading to a painful, if not actually destructive, moment of awakening and recognition in Kentridge’s series of prints Sleeping on Glass.
Liza Lou’s Untitled bead canvases emphasize repetition, formal perfection, and materiality, but thrives on the tension between silent beauty and the presence of traces of bodily residue in the beaded strips that establishes many of the social themes, such as uncelebrated women’s work, that underpin her work.
Works on exhibition reference cultural moments and artistic practice that is at times interrogative, celebratory, or a means of bearing witness. Yet in all instances they complicate and remediate so as to bring about a new framework for understanding or experiencing that which exists already.
Artists include Adam Broomberg and Oliver Chanarin, Carla Busuttil, Nolan Oswald Dennis, Mounir Fatmi, Kendell Geers, David Goldblatt, Haroon Gunn-Salie, Kapwani Kiwanga, Liza Lou, Gerald Machona, Lorna Simpson, Mikhael Subotzky, Hank Willis Thomas, and Jeremy Wafer.
GOODMAN GALLERY JOHANNESBURG 28 JANUARY – 26 FEBRUARY 2015
CANDICE BREITZ / ADAM BROOMBERG AND OLIVER CHANARIN / NOLAN DENNIS / MOUNIR FATMI / KENDELL GEERS / DAVID GOLDBLATT/ HAROON GUNN SALIE/ ALFREDO JAAR / MOSHEKWA LANGA / WILLIAM KENTRIDGE / LIZA LOU / MIKHAEL SUBOTZKY /
“Imagine them reconstructing the conceptual framework of our cultural moment from those fragments. What are the parameters of that moment, the edge of that framework?” K Eshun (2003)
Other People’s Memories is a group show which explores the ways in which history and memory exist in the process of making, as well as the process of viewing, and by extension, the relationship between the artist, the artwork and the viewer.
The works included in the exhibition are the result of the artists’ relationship to something which has already happened, so that the artwork becomes an act of insertion, where the artists’ personal history becomes part of the historical, social or cultural moment which is referenced. In some instances the physical presence of the artists and their surroundings is consciously transferred to the artwork.
In Moshekwa Langa’s drawings, the artist uses string, tape and paint to map his memories and encounters. He includes domestic items like salt and wine, which he works into the fibrous paper and permeable string, so that the marks he makes are made viscerally – making overt the artist’s physical presence.
Transferral and human presence is also evoked in the beaded canvases of Liza Lou, who along with her team of skilled Zulu woman beaders, produces visual meditations on imperfect artistic production. The canvases retain traces of sweat, dirt and even blood which are testament to the fragile delicacy of her production and become a site of memory, recording the long struggle and sublime discomfort involved in the act of making.
Mikhael Subotzky’s work Sticky Tape Transfer 03 is formed through a process, developed by the artist, whereby adhesive tape is applied and then removed from images that feature in the artist’s personal history. In this delicate process, the tape picks up pigments and fragments of the original image so that a replica is formed. The pigments and fragments from the image are not all that is transferred onto the tape: dust and grime from the studio also become trapped in the glue, so that the image is made up not only of itself but also from the physical surroundings of the artist. Subotzky’s images then, become a meditation on memory itself. Like Subotzky’s transfers, a memory – each time it is evoked – is revised. Some parts are forgotten and left behind with the splinters and fragments of context replacing them.
The physical presence of the maker is made apparent in Kendell Geers’ work Foiled – where the artist has imprinted a religious figurine of Christ on the Cross on a large sheet of tin foil. Due to the delicate nature of the tin foil, the dents and folds deliberately made by the artists to demarcate the indented image are not the only marks on the material. As Geers manipulates the tin foil to create the image at its centre, his movement is picked up by the material so that the foil retains not only a visual “memory” of the devotional object but also a memory of how it came to be. The exhibition also allows for an exploration of how the artwork exists not only as something which contains the artists’ personal history – which happens in the process of making – but also how the viewer’s own history is projected onto the referred moment during the process of viewing and interpreting. Nolan Oswald Dennis’ work Tunnel 001 investigates the use of fire and what the artist terms “civil burnings” in the historical formation of South Africa.
The work consists of a plywood tunnel, the interior of which is covered in a thin layer of paraffin wax. Historical and personal accounts of how fire and burning existed in the formation of South African independence are carved into the wax. Like the foil in Geers’ work, the brittle yet stiff surface of the wax in Tunnel 001 means that in rewriting the texts, the artist physically changes what was originally written. Mistakes are made and words are scratched out, the wax breaks and obscures words, sentences run into each other and it becomes difficult to determine a precise starting and ending point. The size of the tunnel, which is just high enough to accommodate a human body, means that viewers are unable to gain perspective, and are forced by the physical constraints of the work to look at the carvings as fragments, and read the altered texts in pieces, so that each viewer has a different experience and constructs a different narrative and meaning. Where Dennis replicates and reworks texts onto a new surface, William Kentridge works directly onto archival documents, merging his drawing process into all that is contained by the archival document. Kentridge has worked with pages from an old cash book from East Rand Proprietary mines from 1906. In this way, the artist has worked the writing, texture and marks on the pages of the book into the landscapes – so that the history which the pages record becomes intrinsic to the landscape.
The archive, in this case, is directly altered by the artist’s charcoal landscapes, allowing for a rumination of the effect of the past on the landscape and exploring the tension between the reclaiming of damaged ground by the ever evolving and growing landscape – and the extent to which landscape remembers trauma. While Kentridge explores the extent to which trauma and social injustice is evoked in the landscape,
David Goldblatt considers the ways in which loss and memory are contained within manmade monuments. In his 2014 series, Structures of Dominion and Democracy, Goldblatt continues his reflection on the structures and monuments that frame a particular vision of South African history. The new series concentrates on, but is not entirely devoted to, the period after the fall of apartheid, and features images of makeshift memorials, public monuments, and artworks which memorialize moments of trauma and allow for attempts at national catharsis. The works interrogate the practice of memorializing history and the ideologies that govern this practice. Whereas Goldblatt documents and investigates the ways in which monuments are constructed amongst different groups, Alfredo Jaar works with a historical photograph of Italian artist Lucio Fontana after his return from his native Argentina to Milan in 1946. The image shows Fontana standing amongst the ruins of his studio which was destroyed during World War II. The image, which the artist sourced from the Farabola archive in Rome, has been enlarged to a 2,5 × 2,5 metres square. Beyond the evident display of destruction and loss caused by war, this image marks an extraordinary moment in history where a group of artists and intellectuals were able to overcome years of isolation and devastation and reintroduce Italian culture to the world. This group includes Fontana in visual arts as well as Rossellini, Visconti and De Sica in film, Moravia, Pavese or Ungaretti in literature and the later generation of filmmakers like Antonioni, Bertolucci, Pasolini and artists like Pistoletto, Boetti, Calzolari and countless others who illuminated the cultural scene of Italy and the world.
Jaar first showed this image during the 2013 Venice Biennale as part of his project Venezia, Venezia, which was a call to artists and intellectuals across the globe to rethink the current unbalanced structure of contemporary art display and representations of the world in general. As Jaar points out, “artists create models of thinking the world”. By alluding to the power which culture demonstrated back in 1946, the artist encourages culture to once again overcome the present social, geographical, political, and cultural imbalances still aggravating the world.
Haroon Gunn Salie begins from the point of a South African identity of Diaspora – and a history of colonialism and slavery.
Gunn Salie has produced a metal cut out of the words KOM OOR DIE SEE – a line from the popular “Kaapseklopse” and slave song Die Alabama. Working in The Belfast Exposed archive – which contains photographs documenting the Troubles in Northern Island – photographers Adam Broomberg and Oliver Chanarin were interested in the process of selection, and the physical marks made on the photographic contact strips in the archive.Marks were made both by the succession of archivists who worked with the archive, and as the archive was made open to the public, marks and cuts made by individuals who defaced images of themselves.
The archive, then, is not only a collection of images which document the troubles, but the images themselves – they too become surfaces which bear testimony to the physical manipulation and handling of history and documentation.
In the works on the exhibition the artists have brought to light the process of selection and deletion by uncovering parts of the images which have been covered by archivists’ stickers and deleting the rest of the image. In the process of exposing what was covered and deleting what was not, the artists make over the ways in which cataloguing and selection impact on an archive. When the works are installed in the gallery the images – now devoid of their context – trigger different responses in the viewers, who must use their own backgrounds and history to make meaning of the images’ sequences.
Mounir Fatmi works within the realm of art history and visual culture. Taking the Italian Renaissance artist Fra Anglico’s painting The Healing of Deacon Justinian as his starting point, Fatmi questions the possibility of traversing ethnic and cultural barriers. A digital replica of Angelico’s painting has been printed on a mirrored surface. The painting depicts the Catholic hagiology of the Deacon Justinian, whose cancerous leg was replaced with that of an a dead Ethiopian by the saints Cosmas and Damian – twin doctors of Turkish descent who were martyred in the Catholic faith after they were beheaded under Diocletian persecution.
Fatmi places composites images of modern surgeries and trauma rooms onto the Angelico image so that the saints and the deacon appear as ghostly forms in the modern world. Like so many of his works, in Blinding Light, Mounir Fatmi does not provide the viewer with an answer or solution to ethnic and cultural barriers – but rather through a merging of media, time and origin he includes the viewer in the a process of complicating and questioning the past.
The mirrored surface of the work means that in the proccess of looking, the viewer becomes part of the layered imagery. Bodies are reflected in the parts of the work which are still reflective and hidden in the parts which have been been covered by the photographic print. Again, medium is used as a visual analogy for contemplating that which has come before, where the viewer, as in Frangelico’s painting, becomes a ghostly presence in a reworking and re-imagining of the past. In her dual channel video work Treatment, – Candice Breitz also works with insertion and reception, through revising and editing David Cronenberg’s iconic 1970’s horror film The Brood.
Breitz enlists herself, her own mother and father, and her real-life psychotherapist to inhabit and re-create a series of scenes from The Brood.
As with the Cronenberg film,Treatment resists indulging concrete autobiographical information, denying onlookers voyeuristic access to Breitz’s actual relationships with her parents and therapist, and focusing instead on the psychological horror that potentially lies within family life.
Once again the work deals with the hidden that exists underneath the observable – and asks the viewer to engage with the reference, the artist’s intention and the narrative potential of their own history being brought to bear upon the works.
Surfacing is a group exhibition which allows for an exploration of the transient space between destruction and (re)construction. The exhibition aims to bring to light the fragments and residues that remain after destruction, and linger beneath a new form. In the preface to the 1961 edition of Frantz Fanon’s The Wretched of the Earth, Jean-Paul Sartre writes “violence is man re-creating himself”. Although Sartre speaks of violence as a necessity for overthrowing colonial power, “no gentleness can efface the marks of violence; only violence itself can destroy them.” This exhibition understands Sartre’s notion to address culpability, selfhood and violence and trauma involved in the process of becoming, scrutinizing and (re)creating.
Liza Lou’s Dirty White (2011-14) is a painting woven entirely out of glass beads. Over a period of months, Lou and her studio assistants from eight different townships in KwaZulu-Natal wove white A4 sheets out of identical white beads. The resulting painting tells the story of its own making: pock marks, streaks, ruptures and dirt are imbedded in a kind of code that speaks of the blood, sweat and tears of everyday life. For Lou, it is precisely in the moments of imperfection that beauty emerges – quoting from Leonard Cohen’s Anthem (1992), Lou explains “there’s a crack in everything, that’s where the light gets in.”
Kendell Geers’ sculpture Country Of My Skull is made from a cannibal trophy from New Caledonia; an artifact that by
its very nature is politicised and stands as a reference to violence and terror. The work’s title is taken from Antjie Krog’s literary account of the South African Truth and Reconciliation Commission – and expresses the artist’s constant battle between the paradoxical distancing of himself from a prejudiced and vicious heritage and the acknowledgement that he can never be entirely removed from it. In WaitingWantingWastingWorking Kendell Geers has produced a generic bed made from polished steel and razor mesh. For Geers the industrial phenomenon of razor mesh production – based on separation and othering, is a metaphor for the predicament of South Africa during Apartheid – as well as a metaphor for the artist who was born into the apartheid regime and struggled to understand the violence he was born out of and simultaneously born into. WaitingWantingWastingWorking has been made to be beautiful and monumental, while at the same time maintaining the original violence which has so informed Geers’ production throughout his career.
One million points of light by Alfredo Jaar was shot off the coast of Angola, in Luanda. It was taken while standing, facing the ocean directly towards Brazil, in memory of the 14 million slaves sent from Angola to Brazil. Jaar’s photograph is inviting in its beauty and physicality; the way in which the image has been photographed and Jaar’s decision to use a lightbox to display the photograph means that surface of the image becomes almost tangible. It appears as if the light hitting the water becomes a layer that could be peeled back like skin, revealing the deep suffering to which the artist alludes.
In an abridged version of the large installation I was looking back, Mikhael Subotzky investigates the practice and mechanics of looking in relation to the history of South Africa, the history of photographic devices, and his own history as an artist. A number of the works on show have been smashed by the artist, creating a tension between document and object. The shattered surfaces become both unsettling and poignant, both concealing and recreating the image that lies beneath it.
mounir fatmi’s 3D rendered film Sleep Al Naim shows the writer Salman Rushdie sleeping peacefully, his bare chest heaving and falling to the rhythm of his breathing. The film borrows its imagery from Andy Warhol’s minimalist pop experimental film Sleep. Sleep Al Naim suggests the ambivalence of a physical abandonment, quiet and calm. Given the now notorious threats to Rushdie’s life, the film alludes to potential physical threat – and the viewer perhaps feels unease at watching Rushdie in a state of such vulnerability. This unease occurs against the alienation between the viewer and what is happening inside “Rushdie’s” mind – the ambivalence of quiet exists in these moments – when the torments of the mind exist in the unconscious.
William Kentridge’s 2007 body of work What Will Come is both a reflection on the way in which images are perceived and constructed by the human eye and a political statement about the violence and repercussions of colonialism. The works explore the Italian invasion of Ethiopia (at the time Abyssinia) in 1935-1936, drawing a connection between fascism and colonialism. Kentridge describes the works as “involving seeing twice. Seeing the image in one form and then reconstructing the image either in a mirror, or another optical device.” What Kentridge does then, is to deconstruct an image and ask for the viewer to reconstruct it using a series of optical devices. The drawings become fragments and remnants – with the full image existing only in the transient space of each viewer’s eye – and by extension mind. In evoking Italian amnesia about its colonial past, and the need for the re-evaluation of its violent heritage, Kentridge explores the duality of selfhood trauma involved in re-evaluating the self.
In Candice Breitz’s new video installation Treatment, the artist brings an original soundtrack to three key scenes from director David Cronenberg’s seminal film The Brood. In focusing on the family trauma at the heart of The Brood, Breitz pays tribute to Cronenberg’s ability to draw audiences into psychological identification with his characters, suggestively adding the voices of her own family to a palimpsest that already folds Cronenberg’s family narrative into that of the fictional family in The Brood. Staging an analogy between cinematic role-play and therapeutic role-play, The Brood and Treatment share – with their directors – a deep-seated interest in the formative nature of family relationships, a serious investment in the analytical potential of the moving image, and an absolute conviction in the potential of fiction to delve beneath the surface of things.
Haroon Gunn-Salie’s installation titled Amongst Men considers the figure of Imam Abdullah Haron, and the intersecting histories of Islam and the resistance to colonialism and apartheid in South Africa. The installation conceptually recreates Imam Haron’s funeral, which was attended by over 40 000 people after he was murdered by Apartheid police in 1969, by suspending a series of cast kufiya. It is accompanied by a haunting sound element: a recording of a poem written and read by James Matthews, which questions “Was he a patriot or terrorist?” – a reflection on the Imam’s legacy of resistance in contrast to his treatment at the hands of the Apartheid government.
Johan Thom’s work Recital (lend me your ears) consists of three prayer bead necklaces each fashioned from wooden beads, music strings and fifty individually engraved razorblades. Like a real set of prayer beads, the object is made to be handled as part of a highly personal, meditative reflection. The work exists as a silent symphony playing out in the mind of the viewer, and is constructed from the artist’s personal history as an immigrant from Europe. Thom states “this symphony has as much to do with my family, religion, as with war and the discovery of gold in Southern Africa in 1886. But more sinister meanings are present here: The appearance of sharp blades on the necklace serve to remind of the actual collection of ears as trophies by soldiers during the colonial wars in Africa. Instead of a crucifix each prayer bead terminates in another object associated with the larger history by and through which my identity is constructed.” As with Kentridge’s film, where the complete image exists only in the mind of the viewer, Thom’s violent heritage is replayed in the mind of each viewer who interacts with the components of the artist’s inherited history.
In The English Garden, Kudzanai Chiurai investigates Zimbabwe’s violent history as well as the way in which Africa is imagined in the west. Chiurai questions the “contemporary African condition” by juxtaposing the past and the present of a continent in the constant grip of violent civil wars. The painted body emerges from Chiurai’s landscapes as an ambivalent site, of simultaneous oppression and agency, as it negotiates the limits of action and freedom. It is precisely those moments of oppression and agency – destruction and reconstruction – that Chiurai explores, and that his characters simultaneously lament and cherish.
This March, Goodman Gallery Cape presents a group exhibition of work in a wide range of media. Titled Editions, the show brings together photographs, sculpture, video/multimedia works, lithographs, linocuts and photogravures by a variety of South African and international artists, with the common thread that each work forms part of an edition.
Kudzanai Chiurai shows a new film from his Conflict Resolution series, last seen at Documenta 13 in Kassel, Germany, as well as a new photograph from the same body of work. New prints by Gerhard Marx and Walter Oltmann find them engaging with etching, lithography and woodblock printing in new and exciting ways.
Alfredo Jaar’s photographs of Serra Pelada, an opencast gold mine dug by human hands in Brazil, are shown as color transparencies mounted in lightboxes, and sit in uneasy relation to Liza Lou’s Gather Forty, a sculpture made from gold-plated beads threaded and bound in a sheaf.
The exhibition also includes new prints by Clive van den Berg and Diane Victor; photographs from Candice Breitz’ recent Extra!, last seen at the Iziko South African National Gallery, and David Goldblatt’s characteristically quiet colour landscapes; and a portfolio of photolithography by Moshekwa Langa.
Also on show is the full series of Robert Hodgins’ experimental Officers and Gents, to coincide with the Wits Art Museum’s exhibition of his print archive; a selection of lithographs from Sam Nhlengethwa’s recent Conversations series; Mikhael Subotzky’s Don’t even think of it, a film made from a series of still photographs shot by the artist in 2004; and a set of 7 photogravures by William Kentridge titled Zeno Writing II.
Goodman Gallery Johannesburg welcomes you to 2012 with Advance/… Notice, an exhibition of new works by a dynamic group of contemporary artists from around the world. As we advance into a new calendar year, this exhibition gives notice of innovations from some of our artists who are already familiar to you, and of our new ventures into an intellectual exchange with artists with whom we are excited to work for the first time. This show will also give audiences a preview of what is to come, as many of the featured artists have solo shows planned for 2012 at Goodman Gallery spaces and other prestigious South African institutions.
Advance/… Notice introduces newly perfected techniques or processes for some of our well-known artists, such as platinum photographic prints by David Goldblatt, and a completely new turn of direction and field of interest for African American artist Hank Willis Thomas, who first exhibited with us on In Context in 2010, as well as for Sigalit Landau, the acclaimed Israeli artist we co-hosted at last year’s Venice Biennale. These international savants are joined by South African artists such as Hasan and Husain Essop, Moshekwa Langa, Mikhael Subotzky, Sue Williamson, William Kentridge, Rosenclaire, and Frances Goodman revealing either brand new works, or works not yet seen in Johannesburg. Also featured are works by Kendell Geers, whose retrospective exhibition will open at IZIKO South African National Gallery in late March 2012.
Our first show of the year seems an apt time to introduce the novel and the unexpected in the work of a number of artists and to also welcome prominent figures including Liza Lou, a world-renowned American now living and working in KwaZulu Natal; South African Candice Breitz, now resident in Berlin; Chilean-born New Yorker Alfredo Jaar; London-based Iranian Reza Aramesh, as well as Carla Busuttil – a young South African artist based in Berlin who is well-established in the United Kingdom, but has never before exhibited in her home country.
Liza Lou presents a work titled Gather Forty, one of a series of forty individual sculptures made from gold-plated beads that have been expertly threaded onto four hundred individual pieces of stainless steel wire and bound in a sheaf – continuing the shift of the beadwork medium from craft to conceptual art. Alfredo Jaar, internationally recognised artist, filmmaker and architect, celebrated for the public interventions he has created all over the world, shows From Time to Time, a panel of nine Time magazine covers focusing on Africa that either feature animals or malnourished Africans – revealing how the rest of the world often encapsulates its second largest continent. Breitz, who opens a major survey of her work titled Extra! at the Standard Bank Gallery this February, presents The Character, a video installation filmed in Mumbai that seeks to understand the role and influence of child characters in mainstream Indian cinema through interviews with a group of young moviegoers. In Action 78, Aramesh uses familiar scenes from news footage of the first Gulf War to restage, re-present and destabilise any easy readings of the conflicts we think we understand. Oil paintings by Busuttil offer a sinisterly-executed perusal of the exploitation of power and cruelty.
We are also very pleased to present for the first time the work of Nelisiwe Xaba, who will be presenting an interactive dance and video collaboration with Mocke J van Veuren at Goodman Gallery Projects in February. The crossover into visual art is exciting new territory for this renowned performer/dancer.
Goodman Gallery hopes you will join us to be inspired, challenged and excited by this exhibition and its promise of advances in the visual arts of South Africa. We trust you will find the exhibition gives notice of an innovative and exciting programme for 2012 in Johannesburg and Cape Town.
Liza Lou was born in New York City in 1969 and has lived in Los Angeles since 1990. She has had numerous solo exhibitions at venues including the Stiftung Museum Kunst Palast, Düsseldorf; Fundació Joan Miró, Barcelona; Henie Onstad Kunstsenter, Oslo; White Cube, London; Aspen Art Museum, and the Minneapolis Institute of Arts. Group shows include The Israel Museum, Jerusalem; Palais de Tokyo, Paris; Serpentine, London; Biennale d’art Contemporain de Lyon, and Taipei Biennale, among many others. The Dakis Joannou Collection, Cleveland Museum of Art, the Whitney Museum of American Art, Fondation Cartier, the Olbricht Collection, the François Pinault Foundation, and the Brant Foundation are but a few of the international collections that own her work.
In 2002, she was awarded a MacArthur Foundation Fellowship.
Lou has exhibited in numerous museums and galleries around the world, including, The New Museum of Contemporary Art, New York; The Metropolitan Museum of Art, New York; Victoria and Albert Museum, London; Los Angeles County Museum of Art, Los Angeles; Minneapolis Institute of Arts Minneapolis; Deste Foundation for Contemporary Art, Athens, Greece; Museum of Contemporary Art, Tokyo; Santa Monica Museum of Art, Santa Monica; and Smithsonian Institution of American Art, Washington, D.C.
The artist currently lives and works between Los Angeles and South Africa.
2016 Color Field, Neuberger Museum of Art Westchester, New York, USA
2015 Gather (one Million), Wichita Museum of Art, Kansas, USA
2014 Canvas, Goodman Gallery, Johannesburg, South Africa
2013 Liza Lou: Color Field , Museum of Contemporary Art, San Diego, USA
2011 Liza Lou: Let the Light In, SCAD Museum of Art, Savannah, Georgia, USA
2011 Liza Lou, L&M Arts Los Angeles, Los Angeles [catalogue], USA
2010 American Idol, Galerie Thaddaeus Ropac, Paris [catalogue], France
2010 Liza Lou Drawings, Galerie Thaddaeus Ropac, Paris, France
2008 Liza Lou, L&M Arts, New York [catalogue], USA
2008 Liza Lou, Maximum Security, Lever House, New York, USA
2006 Liza Lou, White Cube, London, England [catalogue], UK
2004 The Damned, Galerie Thaddaeus Ropac, Paris, France
2002 Testimony, Deitch Projects, New York, USA
2002 Liza Lou, Museum Kunst Palast, Düsseldorf, Germany
2002 Leaves of Glass, Henie Onstad Kunstsenter, Oslo, Norway [catalogue]
2001 Liza Lou II, Bass Museum of Art, Miami, Florida, USA
2001 Trailer, Southeastern Contemporary Art Center, Winston-Salem, NC, USA
2000 American Presidents 1-43, Renwick Gallery, Smithsonian Institution of American Art, Washington, D.C., USA
2000 Liza Lou, Akron Art Museum, Akron, Ohio, USA
1999 American Glamorama, Grand Central Terminal, Vanderbilt Hall, New York, USA
1999 Kitchen, Contemporary Arts Center, Cincinnati, USA
1999 American Presidents 1-42, Contemporary Arts Center of Virginia, Virginia Beach, USA
1998 Liza Lou, Bass Museum of Art, Miami Beach, Florida, USA
1998 Portrait Gallery, Aspen Art Museum, Aspen, USA
1998 Liza Lou, Kemper Museum of Contemporary Art, Kansas City, USA
1998 Kitchen and Back Yard, Santa Monica Museum of Art, Santa Monica [catalogue], USA
1998 Back Yard, Fundació Joan Miró, Espai 13, Barcelona, Spain
1998 Portrait Gallery, P.P.O.W., New York, NY, USA
1997 American Presidents 1-42, Hudson River Museum of Westchester, Yonkers, USA
1997 American Presidents 1-42, California Center for the Arts Museum, Escondido, California, USA
1996 Kitchen, Minneapolis Institute of Arts, Minneapolis, Minnesota, USA
1996 Forty-two American Presidents, Quint Gallery, La Jolla, California, USA
1996 Liza Lou, Capp Street Projects, San Francisco, California, USA
1996 Liza Lou, Center for Creative Studies, Detroit, Michigan, USA
1996 Liza Lou, John Natsoulas Gallery, Davis, California, USA
1995 Socks and Underwear, Franklin Furnace, New York, New York, USA
1994 Kitchenette, California State University Art Gallery, Fullerton, California, USA
2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Cape Town, South Africa
2015 Painting @ the very edge of Art, Contemporary Art Galleries, University of Connecticut, USA
2015 Edge of Silence, Goodman Gallery, Cape Town, South Africa
2014 Surfacing, Goodman Gallery, Cape Town, South Africa
2011 Memories of the Future, The Olbricht’s Collection, curated by Wolfgang Schoppmann, La Maison Rouge, Paris, France
2011 Strange Beauty: Baroque Sensibilities in Contemporary Art, I.D.E.A Space, Colorado College, Colorado Springs, Colorado, USA
2011 Invitational Exhibition of Visual Arts, Academy of Arts and Letters, NY, USA
2011 January White Sale, Loretta Howard Gallery, New York [catalogue], USA
2010 Now What?, Norton Museum of Art, West Palm Beach, Florida, USA
2010 The Artist’s Museum, Museum of Contemporary Art, Los Angeles, CA, USA
2010 Make Craft, Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, USA
2010 Skin Fruit: Selections from the Dakis Joannou Collection, Curated by Jeff Koons, New Museum, New York, New York, USA
2010 Kupferstichkabinett: Between Thought and Action, White Cube Gallery, London, England, UK
2010 19th Century and Modern Art, Metropolitan Museum of Art, New York, USA
2010 Selections from the Permanent Collection, Cleveland Museum of Art, USA
2010 Lust for Life, Dance of Death, Olbricht Collection, Kunsthalle Krems, Austria
2009 Diana und Actaeon: Der Verbotene Blick Auf Die Nacktheit, Musuem Kunst Palast, Düsseldorf [catalogue], Germany
2008 Bizarre Perfection, Israel Museum, Jerusalem, Israel
2008 In the Land of Retinal Delights, Laguna Art Museum, Laguna, California, USA
2008 Innovations in the Third Dimension: Sculpture of Our Time, Bruce Museum, Greenwich, Connecticut, USA
2007 The Contemporary Self-Portrait, Galerie Thaddaeus Ropac, Salzburg, Austria
2007 The Complexity of the Simple, L&M Arts, New York, NY, USA
2007 Rockers Island-Olbricht Collection, Museum Folkwang, Essen, Germany
2007 The Death Instinct, The Haifa Museum of Art, Haifa, Israel
2006 Transitional Objects: Contemporary Still Life, Neuberger Museum of Art, 2006 Purchase College, State University of New York, New York, USA
2006 Collection of the Fondation Cartier pour l’art contemporain, Museum of Contemporary Art, Tokyo, Metropolitan Kiba Park, Tokyo, Japan
2005 Translation, Works from the Dakis Joannou Collection, Palais de Tokyo, Paris, France
2005 Over + Over: Passion for Process, Krannert Art Museum, University of Illinois at Urbana-Champaign, USA
2005 Over + Over: Passion for Process, Katonah Museum of Art, Katonah, New York, USA
2005 Over + Over: Passion for Process, Addison Gallery of American Art at Phillips Academy in Andover, USA
2004 Monument to Now, Deste Foundation for Contemporary Art, Athens, Greece [catalogue]
2004 Splat, Boom, Pow: Cartoons in Contemporary Art, Contemporary Art Museum, Houston, USA
2004 Splat, Boom, Pow: Cartoons in Contemporary Art, ICA, Boston and Wexner Center for the Arts, Ohio, USA [cat.]
2004 Domestic Odyssey, San Jose Museum of Art, San Jose, CA [catalogue], USA
2003 Undomesticated Interiors, Smith College Art Museum at the Brown Fine Arts Center, Northhampton [catalogue], UK
2003 Perpetual Bliss: Form, Symbol and Material in Contemporary Art, Galerie Thaddaeaus Ropac, Paris, France
2003 Skulptur03, Max Gandolph-Bibliothek, Galerie Thaddaeus Ropac, Salzburg, Austria
2003 Shine, Boijmans Museum, Rotterdam, The Netherlands [cat.]
2002 Melodrama, Centro-Museo Vasco de Arte Contemporàneo, Basque
2002 Melodrama, Palacio de los Condes de Gabia/Centro Jose Guerrero, Granada, Spain
2002 Melodrama, Museo de Arte Contemporànea de Vigo, Spain [catalogue]
2002 Bingo, Galerie Thaddaeus Ropac, Paris, France
2002 Fusion Cuisine, Deste Foundation for Contemporary Art, Athens, Greece
2001 Un Art Populaire, Fondation Cartier, Paris, France [catalogue]
2001 Give and Take, organized by Serpentine Gallery and Victoria and Albert Museum, London, UK [catalogue]
2001 ARS 01, KIASMA Museum of Contemporary Art, Helsinki, Finland [cat.]
2001 Art Through the Eye of the Needle, Henie Onstad Kunstsenter, Oslo, Norway [catalogue]
2000 Color and Fire: Defining Moments in Studio Ceramics, Los Angeles County Museum of Art, Los Angeles, USA
2000 Color and Fire: Defining Moments in Studio Ceramics, Kemper Museum of Contemporary Art, Kansas City, USA
2000 Color and Fire: Defining Moments in Studio Ceramics, The Tucson Museum of Art, Tucson, USA
2000 Color and Fire: Defining Moments in Studio Ceramics, Memorial Art Gallery of the University of Rochester, NY, USA [catalogue]
2000 Sharing Exoticism, Biennale de Lyon d’art Contemporain, Lyon, France [cat.]
2000 Taipei Biennial, Taipei Fine Arts Museum, Taipei, Taiwan [catalogue]
2000 Made in California: Art, Image, and Identity 1900-2000, Los Angeles County Museum of Art, Los Angeles, CA, USA [catalogue]
1999 First Annual Post-Impeachment Show, Track 16 Gallery, Santa Monica, CA, USA
1998 Site Specific, The Aldrich Museum of Contemporary Art, Ridgefield, CT, USA
1996 A Labor of Love, The New Museum of Contemporary Art, New York, New York, USA[catalogue]
1996 Art for the New Millenium, The Fabric Workshop/Museum, Philadelphia, Pennsylvania, USA
1996 Subversive Domesticity, Edwin A. Ulrich Museum of Art, Wichita, KS, USA [cat.]
1996 An Embarrassment of Riches, Huntington Beach Art Center, Huntington, California, USA[catalogue]
2013 Anonymous Was a Woman Award
2002 John D. and Catherine T. MacArthur Foundation Fellowship
The Whitney Museum of American Art, New York
The Cleveland Museum of Art, Cleveland, Ohio
The Brant Foundation, Greenwich, Connecticut
The Metropolitan Museum of Art, New York (long-term loan)
Fondation Cartier Pour I’art Contemporain, Paris, France
François Pinault Foundation, Palazzo Grassi, Venice, Italy
Thomas Olbricht Collection, me Collectors Room, Berlin, Germany
Deste Foundation for Contemporary Art, Athens Greece
La Fundación/Colección Jumex, Mexico City, Mexico
Fundación Privada Sorigué, Lleida, Spain
Honart Museum, Tehran, Iran
2012 Lou Liza, Durban Diaries, London, White Cube Gallery
2012 Rosenthal Mark, Regarding Warhol Sixty Artists Fifty Years, Metropolitan Museum of Art, Yale University Press
2011 Prose Francine, Realms of Glory, Venice, L&M Arts
2011 Duncan Michael, Break on Through to the Other Side, Venice, L&M Arts
2011 Heartney Eleanor, Arthur Lubow, Peter Schjeldahl, Lawrence Weschler, Liza Lou Skira Rizzoli Publications, Inc., New York
2010 Doswald, Christoper, Hello Mister President, Galerie Thaddaeus Ropac
2009 Dean Johnson, Mark (ed.), Prison/Culture City Lights Foundation, San Francisco
2009 Klanten, Robert and Lukas Feireiss (eds.), Spacecraft 2 , Gestalten, Berlin
2008 Badelt, Sandra und Beat Wismar, Diana Und Actaeon: Der Verbotene Blick Auf Die Nakctheit, Dusseldorf, Hatje Cantz Verlag
2008 Barber, Anna (ed.), Bizarre Perfection: The Israel Museum Exhibition Catalogue, The Israel Museum, Jerusalem
2008 Nochlin, Linda, Existence and Beading: The Work of Liza Lou, New York, L&M
2008 Pincus-Witten, Robert, Liza Lou: Why Not Beads?, New York, L&M Arts
2008 Heartney, Eleanor, _Art & Toda, London and New York: Phaidon Press
2007 Glenn Harper and Twylene Moyer (eds), Conversations on Sculpture, ISC
2006 Winterson, Jeanette, and Marlow, Tim, Liza Lou, UK: White Cube
2005 Koenig, Walter, Most Wanted – The Olbricht Collection, Germany: Verlag der
2005 Bérubé, Michael, The Aesthetics of Cultural Studies, Oxford: Blackwell
2004 Deitch, Jeffrey, Monument to Now, Athens: Deste Foundation
2004 Moscoviter, Herman, De Vleugels Van Biblioteek, Rotterdam: Biblioteek
2004 Northrup, JoAnne, Domestic Odyssey, San Jose: San Jose Museum of Art
2004 Levitte Harten, Doreet, _Melodrama _, Vigo: Museo de Arte Contemporánea de
2004 Muehlig, Linda, Undomesticated Interiors, Northhampton: Smith College
Museum of Art
2003 De Oliveira, Nicolas; Oxley, Nicola; Petry, Michael, Installation Art in the New
Millenium: The Empire of the Senses, London: Thames and Hudson
2003 Sütö, Wilma, Shine, Rotterdam: Museum Boijmans Van Beuningen
2003 Cassel Valerie, Splat, Boom, Pow: The Influence of Cartoons in Contemporary
Art Houston: Contemporary Arts Museum
2002 Wendt, Selene and Liza Lou (interview), Leaves of Glass, Oslo: Henie Onstad Kunstsenter
2002 Jaukkuri, Maaretta, Unfolding Perspectives (Helsinki: Museum of Contemporary Art Kiasma
2001 Corrin, Lisa, Give and Take London: Serpentine Gallery
2001 Martin, Jean-Hubert, Partage d’Exotismes, Lyon: 5th Biennale d’Art
Contemporain de Lyon
2001 Kelmachter, Hélène, Un Art Populaire, Paris: Fondation Cartier
2000 Sans, Jerome, The Sky is the Limit, Taipei: Taipei Fine Arts Museum
2000 Fox, Howard N., Made in California, co-published by the Los Angeles County
Museum of Art and University of California Press, Berkeley, Los Angeles and
1998 Schjeldahl, Peter and Tucker, Marcia, Liza Lou (Santa Monica: Smart Art Press
1996 Self, Dana, Subversive Domesticity, Wichita: Edwin A. Ulrich Museum of Art
1996 Pincus, Robert. Liza Lou Davis: John Natsoulas Press
1996 Tucker, Marcia, A Labor of Love, New York: The New Museum of Contemporary Art
2003 Smith College Art Museum, Northhampton, Mass Carnegie-Mellon University Art Museum, Watson Performance Festival, Pittsburgh, PA
2003 California College of Arts and Crafts, Wattis Institute for Contemporary Art, San Francisco April 8
2002 Deitch Projects, New York Oct. 13,21,28
2002 Les Deux Cafés, Hollywood, CA June 21 & 22
2002 Santa Barbara Contemporary Art Forum, Center Stage Theatre, Santa Barbara, Ca July 12
2002 Museum Kunst Palast, Düsseldorf, Germany April 21
Press for Liza Lou
SP-Arte / Folha de S.Paulo / Brazil / 3 April 2015Equal in inequality, Brazil and South Africa lock dialogue in SP-Arte By Silas Marti (769.7 KB)
Liza Lou / KMUW Wichita Public Radio / Kansas / 10 June 2015Three Exhibits Share Contemporary Approach To The Landscape By Lindsey Herkommer Devries (2.2 MB)
Liza Lou / Mail and Guardian / South Africa / 22 - 28 August 2014Knee-deep in SA's paradoxes by Sean O'Toole (327 KB)
Liza Lou / Designboom / London / 31 July 2013Mesmerizing Beaded Environments by Liza Lou by Nina Azzarello (1.2 MB)
Liza Lou / Los Angeles Times / Los Angeles / 28 April 2011Art Review: Liza Lou at L&M by Leah Ollman (6.4 MB)
Liza Lou / Art In America / United States / 1 November 2008Liza Lou by Steven C. Dubin (377.5 KB)
Liza Lou / W Magazine / United States / September 2008Liza Lou Once ostracized because she dared to use beads instead of paint, artist Liza Lou is now a favorite of collectors and curators. Here, A visit to her South African studio by Christopher Bagley (250.6 KB)
Liza Lou / The Guardian / United Kingdom / 21 March 2006String of Violence by Adrian Searle (276.8 KB)