Lee Lozano, Ida Applebroog Book & Printed Matter Lab

19 May – 29 Jul 2017, Hauser & Wirth London

‘By the late 1970s, it became clear that ultimately there was no criterion for how a work of art had to look – and hence that art could look any way at all. This effectively sundered art from aesthetics, and opened possibilities for art beyond those of simply prompting visual pleasure. This meant not the end of painting, but the end of painting as the paradigm of art … Painting became merely one member of an indefinitely expansible array of ways of making art, leaving it possible that graffiti, lists of sayings, postcards – or booklets – should be among the other disjuncts.

And if the artworld was a site of experimentation and exploration, expressed in the ephemerality of its most characteristic products, the performance was perhaps the defining genre of the time, involving an immediacy of engagement between artist and audience that aimed at the transformation of consciousness rather than the embellishment of walls. That Applebroog appropriated the term for her books implies that they were not to be looked at but worked through by interactive rather than passive readers.’ – Arthur C. Danto, ‘Art and Moral Dyspepsia’ in Ida Applebroog: Nothing Personal, Paintings 1987-97, Washington, D.C.: The Corcoran Gallery of Art, 1998, 41-58

Along with a portrait of Lee Lozano by Hollis Frampton, visitors can flip through all of Lozano’s 11 Private Books on an iPad. Ida Applebroog’s ‘Galileo Works’ artist books can be consulted and represent one set of the three sets of books within the work ‘A Performance’ (1977- 1981), also on display.