Liza Lou

Liza Lou (born 1969) is an American visual artist. She is best known for producing large scale sculpture using glass beads. Lou ran a studio in Durban, South Africa from 2005 to 2014. Lou's work is grounded in domestic craft and intersects with the larger social economy.

Early life and education Liza Lou was born in New York City, and raised in Los Angeles.

Career Early career (1989-1996) Lou came to prominence with the work Kitchen (1991–1996), a to-scale and fully equipped replica of a kitchen covered in beads. The work took five years to complete and was followed with Back Yard (1996–1999), for which Lou enlisted the help of volunteers to recreate grass in a model of a backyard.

Lou's career has subversively pushed the glass bead as a medium in art making from early representational works to more abstract works which evolved out of her time collaborating with skilled bead artisians in South Africa. Lou reached out to an organization called Aid to Artisans with an idea that her bead practice could provide income in high crises communities. Their dialog resulted in Lou's moving to Durban to work with a collective of Zulu women. At the time, Durban was the epicenter of the HIV epidemic and unemployment was as high as 70% in the townships. Lou has said that working in Africa imparted to her the importance of how an artwork is made, in that the making cannot be separated from the meaning of the work.

Lou's work came to embrace process over concept as evidenced by her 2016 installation, The Waves. This work showcased a thousand white beaded dishcloth sized squares revealing marks from the hands that made them, as well as woven beads that are cracked, streaked, and stained.

Southern California (2014–present) Lou returned to Los Angeles in 2014 but continued to run her Durban studio, commissioning woven panels and canvas that would be incorporated into her installations. She hosted artist talks and "sew-in" sessions via zoom to engage participants.

Her 2021 body of work "Desire Lines" features beaded sculptures that are monochromatic, echoing the Joshua Tree desert landscape where she often works "en plein air."

Notable works

Kitchen 1991-1996 Lou single-handedly created this career launching installation throughout the first decade of her 20's. Kitchen is a statement on the invisible yet powerful value of women's labor. Kitchen questioned the ideas of 'women's work' just as the studded material challenged the distinction between 'serious; male art and women's arts and crafts.' Kitchen continues to inspire conversations about craft, art, and feminism. Making Knowing: Craft in Art, 1950–2019, a group show at the Whitney Museum, displayed Kitchen after ten years in storage in another group show designed to bring awareness to the artists employing craft in their practice. The exhibition is organized by Jennie Goldstein, Assistant Curator, and Elisabeth Sherman, Assistant Curator, with Ambika Trasi, Curatorial Assistant. They state, "by highlighting marginalized modes of artistic production, these artists challenge the power structures that determine artistic value." After viewing the exhibition Garage Magazine journalist Sophie Kemp wrote that "Kitchen is a deeply campy and seductive piece of feminist art." Kitchen is in the permanent collection of the Whitney Museum of American Art in New York City.

Backyard 1996-1999 Backyard is a 528 square foot installation of a garden featuring 250,000 blades of grass. Each 'blade' of grass is a wire strung with beads. This threading process would have taken Lou 40 years to complete the installation thus prompting Lou to break her solitary practice by inviting volunteers from the public to help. What struck Lou about the collaborative process is that everyone's threaded wire appeared slightly different even though they had the same materials and prompt. Backyard is in the permanent collection of the Fondation Cartier pour l'Art Contemporain, Paris.

Continuous Mile, 2006-2008 In 2006, Lou started creating one of her most notable works, Continuous Mile, with help of a team of Zulu women. Continuous Mile is composed of more than 4.5 million black beads, sewn into ropes which are then coiled into a cylindrical shape. The theme of this work is "work," or process. As Lou states, "The idea was to employ as many people as possible, using the slowest possible technique in order to engage a community, and to build homes in the process of making an art work." This work was acquired by the Corning Museum of Glass in 2014.

The Clouds, 2015-2018 For three years Lou collaborated with her Durban Studio artisans in South Africa to stitch together 600 hand sewn beaded cloths. The final installation consists of a 100 foot long canvas artwork titled “The Cloud.” This work originally debuted at the 21st Biennale of Sydney in 2018. Lou first incorporates oil paints into her practice with this work stating, "it's the first time I've made work where I've really shown my gesture." Lou describes this method as evolving out of exploring the question, 'what can the beads do, that paint can't do.'

Solo exhibitions 1994: Kitchenette, California State University Art Gallery, Fullerton, CA 1995: Socks and Underwear, Franklin Furnace, New York, NY 1996: Liza Lou, John Natsoulas Gallery, Davis, CA 1996: Liza Lou, Center for Creative Studies, Detroit, MI 1996: Liza Lou, Capp Street Projects, San Francisco, CA 1996: Forty-two American Presidents, Quint Gallery, San Diego, CA 1996: Kitchen, Minneapolis Institute of Arts, Minneapolis, MN 1997: American Presidents 1-42, Quint Gallery, San Diego, CA 1997: American Presidents 1-42, California Center for the Arts Museum, Escondido, CA 1997: American Presidents 1-42, Hudson River Museum of Westchester, Yonkers, NY 1998: Most Admired Disorder, Haines Gallery, San Francisco, CA 1998: Portrait Gallery, P.P.O.W., New York, NY 1998: Backyard, Fundació Joan Miró, Espai 13, Barcelona, Spain 1998: Kitchen and Backyard, Santa Monica Museum of Art, Santa Monica, CA 1998: Liza Lou, Kemper Museum of Contemporary Art, Kansas City, MO 1998: Portrait Gallery, Aspen Art Museum, Aspen, CO 1998: Liza Lou, Bass Museum of Art, Miami, FL 1999: Kitchen, University of Wyoming Art Museum, Laramie, WY 1999: American Presidents 1-42, Contemporary Arts Center of Virginia, Virginia Beach, VA 1999: Kitchen, Contemporary Art Center, Cincinnati, OH 1999: American Glamorama, Grand Central Terminal, Vanderbilt Hall, New York, NY 2000: Liza Lou, Akron Art Museum, Akron, OH 2000: American Presidents 1-43, Renwick Gallery, Smithsonian Institution of American Art, Washington, D.C. 2001: Trailer, Southeastern Contemporary Art Center, Winston-Salem, NC 2001: Liza Lou II, Bass Museum of Art, Miami, FL 2002: Leaves of Glass, Henie Onstad Kunstsenter, Oslo, Norway 2002: Liza Lou, Museum Kunst Palast, Düsseldorf, Germany 2002: Testimony, Deitch Projects, New York, NY 2004: The Damned, Galerie Thaddaeus Ropac, Paris, France 2006: Liza Lou, White Cube, London, UK 2008: Maximum Security, Lever House, New York, NY 2008: Liza Lou, L&M Arts, New York, NY 2010: American Idol, Galerie Thaddaeus Ropac, Paris 2010: Liza Lou Drawings, Galerie Thaddaeus Ropac, Paris 2011: Liza Lou, L&M Arts, Los Angeles, LA 2011: Liza Lou: Let the Light In, SCAD Museum of Art, Savannah, GA 2012: Liza Lou, White Cube, London, UK 2013: Color Field, Museum of Contemporary Art San Diego, San Diego, CA 2014: Canvas, Goodman Gallery, Johannesburg, South Africa 2014: ixube, Galerie Thaddaeus Ropac, Paris, France 2014: Solid/Divide, White Cube, Bermondsey, London, England 2015: Liza Lou, Wichita Art Museum, Wichita, KS 2015: Color Field and Solid Grey, Neuberger Museum of Art, Westchester, New York, NY 2016: Liza Lou, The Waves Galerie Thaddaeus Ropac, Salzburg, Austria 2017: ingxube Lehmann Maupin Gallery, Hong Kong, China 2018: Classification and Nomenclature of Clouds Lehmann Maupin, New York, NY 2019: The River and the Raft, Lehmann Maupin, London, UK 2021: Both Sides, Now, Lehmann Maupin, Palm Beach, FL 2021: Desire Lines, Lehmann Maupin, London, UK