Liza Lou (b. 1969, New York; lives and works in Los Angeles) first gained attention in 1996 when her room-sized sculpture Kitchen was shown at the New Museum in New York. Representing five years of individual labor, this groundbreaking work subverted prevalent standards of art by introducing glass beads as a fine art material. Through its slow, hand-made process, Kitchen became a monument to women whose labor has historically gone unrecognized. The project blurred the rigid boundary between fine art and craft, and established Lou’s long-standing exploration of materiality, beauty, and the valorization of labor. Working within a craft métier has led the artist to work in a variety of socially engaged settings, from community groups in Los Angeles, to a collective she founded in Durban, South Africa in 2005, to a bead embroidery collective in Mumbai, India and a women’s prison in Belém, Brazil. Over the past 15 years, Lou has focused on a poetic approach to abstraction as a way to highlight the process underlying the work. In addition to using the natural variations of color caused by the natural oils of the human hand as a form of tonal mark-making, the artist applies layers of paint, scraping and wiping it across bead-woven cloths, which she then carves into with a hammer in order to reveal the delicate network of thread hidden inside the beads.
Lou continues to work in South Africa and Los Angeles and is currently developing a major artwork and sustainable employment project within a women’s prison in Belém, Brazil, and a women’s project in Mumbai, India.
Liza Lou has had over forty solo exhibitions in museums and galleries around the world including Lehmann Maupin Seoul (2019), New York (2018), and Hong Kong (2017); Zeitz Museum of Contemporary Art, Cape Town, South Africa (2017); Galerie Thaddaeus Ropac, Salzburg, Austria (2016); Neuberger Museum of Art, Purchase, NY (2015); Wichita Museum of Art, Wichita, KS (2015); White Cube, London, United Kingdom (2014); Museum of Contemporary Art, San Diego, CA (2013); SCAD Museum of Art, Savannah, GA (2011); L&M Arts, New York, NY (2008); Museum Kunstpalast, Düsseldorf, Germany (2002); Bass Museum of Art, Miami, FL (2001); Akron Art Museum, Akron, OH (2000) and the Renwick Gallery, Smithsonian Institution of American Art, Washington, D.C. (2000).
Select group exhibitions have included Making Knowing: Craft in Art, 1950-2019, Whitney Museum of American Art, New York, NY (forthcoming); Less Is a Bore: Maximalist Art & Design, Institute of Contemporary Art Boston, MA (2019); Lexicon: The Language of Gesture in 25 Years at Kemper Museum, Kemper Museum of Contemporary Art, Kansas City, MO (2019); We the People: New Art from the Collection, Albright Knox Art Museum, Buffalo, NY (2018); Screens: Virtual Material, DeCordova Sculpture Park and Museum, Lincoln, MA (2017); No Place Like Home, Israel Museum, Jerusalem, Israel (2017); Women’s Work, National Gallery, Iziko Museum, Cape Town, South Africa (2016); Home Land Security, FOR-SITE Foundation, San Francisco, CA (2016); Stories of Espai 10 and Espai 13, Fundació Joan Miró, Barcelona, Spain (2014); The Artist's Museum, Museum of Contemporary Art, Los Angeles, CA (2010); Skin Fruit: Selections from the Dakis Joannou Collection, New Museum, New York (2010) and 19th Century and Modern Art, Metropolitan Museum of Art (2010). Lou’s work is in numerous international public and private collections, including Albright Knox Museum; Buffalo, New York; Cleveland Museum of Art; Cleveland; DESTE Foundation for Contemporary Art, Athens, Greece; de Young Museum, San Francisco; François Pinault Foundation, Palazzo Grassi, Venice; La Fondación Jumex, Mexico City; Hammer Museum, Los Angeles; Kemper Museum of Contemporary Art, Kansas City; Los Angeles County Museum of Art, Los Angeles; The Museum of Modern Art, New York; The Museum Voorlinden, Wassenaar, the Netherlands; and Whitney Museum of American Art, New York.
Skira Rizzoli published the first comprehensive monograph of the artist’s career in 2010. Liza Lou is the recipient of the 2013 Anonymous Was A Woman Award and the 2002 MacArthur Foundation Fellowship.