cozen geller bio 1 Lori Cozen Geller <!  Biography  >

Biography

America, b.1952

 

 

“Lori Cozen-Geller formulates her sculptures out of a familiar, vital, and relatively recent artistic language. But in creating these objects, she has reasoned well outside the norms of this vocabulary and the genre it informs, almost to the point of heresy. Cozen-Geller is indeed a minimalist, following in the wake of hundreds of principally (if by no means exclusively) American artists who have pared down their formal vocabularies to essences. But Cozen-Geller wants something different out of large, simple shapes than do most of her minimalist predecessors and cohorts: she wants meaning. Symbolic meaning. Iconography, that is, as recognizable (if not necessarily self-evident) to the untrained viewer as a stop sign – albeit far less literal.

 

The minimalist tradition, now almost a half-century old, presumes that the reductive, geometrically constituted objects that comprise what we know as “minimal art” do not communicate anything beyond the physical, or at least optical, experience of their existence. What that experience is may shift, from, say, the obdurate materiality of a Carl Andre or the relentless arithmetical logic of a Sol LeWitt to the perceptual elusiveness of a Robert Irwin; but it is not supposed to assume any sort of inferential resonance, much less narrative content. “What you see is what you see,” cautioned Frank Stella at the outset of his career, when he was painting some of the early landmarks of the minimalist movement and helping to establish the movement’s philosophy and ethos.

 

Cozen-Geller not only accepts the inevitable associativity of things – the referentiability of non-referential art objects – but exploits it. It would be a stretch to say that she harnesses it to her own message(s); if she were bent on conveying specific, prosaic information, she would have to engage a pictoriality far less oblique than the non-objective language of pure, reductivist geometry she invariably employs. Rather, in conjuring, say, the memory of her father, Cozen-Geller does not need to paint a portrait of the man, but only to refer to his absence by displacing a shape out of another, larger shape. In this manner, she bespeaks her feelings through an intuitive but lucid and simple approach to formal relationships – an approach that allows her viewers to respond with similar intuition.

To be sure, there is a weighty, ever-present “thingness” to Cozen-Geller’s things. They occupy space; they demand to be looked at. Furthermore, their identity as objects is underscored by their vivid self-containment: although they are planar, and many of them are displayed on the wall as if paintings, they are not images in any shape, manner, or form. They are objects. They present themselves with the same initial take-it-or-leave-it materiality that animates – and adds gravitas (not to mention gravity) to – the slabs of John McCracken, the bubbles of Craig Kauffman, and the formidable objects realized by other southern Californian “finish/fetish” object-makers. But, like her fellow Angelenos, exploiting the synthetic, high-tech materials and methods associated with the California lifestyle – she colors her sculptures and reliefs with opaque coats of car-body paint – Cozen-Geller wants to make the materials she works with so emphatically present that they ultimately become absent. Taken for granted. Beside the point. As expected and “natural”-seeming as, well, the paint on cars.

 

By amplifying the decorous and the ordinary in her work – effectively pushing her works into the realm of the everyday – Cozen-Geller challenges herself, and us, to maintain the “special condition” of art. These objects finally present themselves as art because they manifest something transcendent. You can’t sit on them or use them; you can only look at them. And you can’t stop looking at them. They call attention to – well, not to themselves so much as to what they are saying. They attempt to reach across a verbal-visual divide to tell stories – or, rather, to elaborate on aspects of the human, and natural, condition. The works signal loss, alienation, socialization, isolation, displacement, discovery, self-awareness, self-denial, and other circumstantial phenomena – circumstantial not just to humans, but in some way or other to all sentient beings.

 

This is a lot to invest art with, and a lot to presume it will communicate. But, then, it is a lot to presume of the audience, of its sensitivity, of its willingness to address and investigate these issues, and particularly of its ability to be spurred to such investigation by big, simple shapes modified with quirky, provocative details. But this is what David Smith did. This is what Alexander Calder did. And this is what Tony Smith did, his paterfamilial relationship to the minimalist sculptors notwithstanding. However elemental, Cozen-Geller’s language – that is, her visual grammar – is at least as traditional as it is unanticipated.

There is no guarantee that we will fully comprehend Cozen-Geller’s “message.” But her message is not her primary concern, and need not be ours. Cozen-Geller seeks to provoke not our recognition of her specific impetus, but our grasp of form itself in the emotional context she gives it. In this respect, she breaks with minimalism and harks back to an earlier attitude about abstraction: the belief, maintained by the very inventors of abstract art, that, rather than telling stories, providing decoration, or physically defining space and substance, abstraction invokes sensation. What we see, Lori Cozen-Geller believes, is what we feel.”

-Art Critic Peter Frank

 

SOLO EXHIBITIONS

2020

Angles Of Emotions Jonathan Ferrara Gallery – New Orleans, Louisiana

2018

Origins, Madison Gallery, La Jolla, CA
Avant-Garde, Museum of Ventura County, Ventura, CA

2017

MOAH ( Musuem of Art History) Lancaster, California

2015

Mujer, Museum of Ventura County Tool Room Gallery, Ventura, CA
Foundations, Art Mur Gallery, Montreal, Quebec
Sol, Museum of Ventura County, Ventura, CA

2013

Minimal, Madison Gallery, La Jolla, CA

2012

Energies, Madison Gallery, La Jolla, CA

2007

Perspective, Russeck Gallery, San Francisco, CA

2006

Form and Color, A Gallery Fine Art, Palm Desert, CA

2005

New Works, Invitation Solo Exhibition, BGH Gallery, Bergamot Station, Santa Monica, CA

GROUP EXHIBITIONS

 

2020

Hamptons Virtual Art Fair, Oeno Gallery – Southamptons, New York  Galerie D’Orsay – Celebrating Twenty Years & Counting” Galerie D’Orsay – Boston, Massachusetts
Winter Group Exhibition, Oeno Gallery – Toronto, Canada

2019

Voice & Vision (2 person), Galerie D’Orsay – Boston, Massachusetts
Dealer’s Choice, Madison Gallery – Solana Beach, California
Art Toronto, Oeno Gallery –  Toronto, Canada
Art Market San Francisco, Madison Gallery – San Francisco, California

2018

You can’t wear RED, Forre Fine Art – Aspen, Colorado
Venice Art Walk – Venice, California

2017

Sotheby’s Benefit, Waterkeeper Alliance – New York, New York
Venice Art Walk” – Venice, California

2016

Art Hamptons – George Bills Gallery, New York, NY
In Her Shoes, Museum of Ventura County, Ventura, CA
Confluence/Dynamics, Madison Gallery, La Jolla, CA
Venice Art Walk, Venice, CA
Wanna Play?!, 212 Gallery, Aspen, CO

2015

Museum of Ventura County, Ventura, CA
Greyston Mansion, Lux Magazine Design House, Amy Meier Designs/Madison Gallery, Beverly Hills, CA
Duets, Museum of Ventura County, Ventura, CA
Phoenix Art Museum Auction, Phoenix, AZ

2014

Venice Art Walk, Venice, CA
Rouge, Cheryl Hazan Gallery, New York, NY

2013

Cheryl Hazen Gallery, Puz-zle Group Show, New York, NY
Art for Water Charity Auction, Los Angeles, CA
Venice Art Walk, Venice, CA

2012

Fellini Rainbow Party, Fellini Gallery, Berlin, Germany
Angelenos, Fellini Gallery, Berlin, Germany
Venice Art Walk, Venice, CA
Art for Water, Sotheby’s, New York, NY

2011

Minimal Thought, Madison Gallery, La Jolla, CA
LACMA Art and Architecture Tour, Los Angeles, CA
Venice Art Walk, Venice, CA
Incognito, Santa Monica Museum of Art, Santa Monica, CA

2010

Pop Life: Commerce and Celebrity, Madison Gallery, La Jolla, CA
Russeck Gallery, Group Exhibit, San Francisco, CA
Incognito, Santa Monica Museum of Art, Santa Monica, CA

2009

Transformation, Museum of Ventura County, Ventura, CA
Salon Show, Melissa Morgan Fine Art, Los Angeles, CA
Group Exhibition, Russeck Gallery, San Francisco, CA
Estro-Gen, Melissa Morgan Fine Art, Palm Desert, CA
Incognito, Santa Monica Museum of Art, Santa Monica, CA

2008

Group Exhibition, Russeck Gallery, San Francisco, CA
Group Exhibition, Sylvia White Gallery, Ventura, CA
Art Houston, Logan Fine Art, Houston, TX
Venice Art Walk, Venice, CA
Group Exhibition, Russeck Gallery, New York, NY
Group Exhibition, Russeck Gallery, San Francisco, CA
Group Exhibition, Millenia Fine Arts, Time Warner Center, New York, NY

2007

Art Beijing, Russeck Gallery, Beijing, China
Group Exhibition, Mellenia Fine Art Partners, Time Warner Center, New York, NY
Six, Gallery C, Hermosa Beach, CA
Fresh 2007, Museum of Contemporary Art, Los Angeles, CA
Palm Springs Art Museum, 38th National Juried Exhibit, Palm Springs, CA

2006

LA Minimalism Today, Gallery C, Hermosa Beach, CA
LA Art and Architecture Tour, Los Angeles Museum of Art, Los Angeles, CA
Group Exhibition, Time Warner Center, New York, NY
Group Exhibition, Millenia Fine Art Collection, Orlando, FL
Venice Art Walk, Venice, CA
Group Exhibition, BGH Gallery, Santa Monica, CA

2005

Twisted Christmas, BGH Gallery, Santa Monica, CA
New Works Solo Exhibition, BGH Gallery, Bergamot Station, Santa Monica, CA
Venice Art Walk, Venice, CA
21, Gallery C, Hermosa Beach, CA
Fresh, Museum of Contemporary Art, Los Angeles, CA
Art LA, Gallery C, Santa Monica, CA

2004

Venice Art Walk, Venice, CA
Group Exhibition, Sulkin Secant Gallery, Bergamot Station, Santa Monica, CA

SELECTED MUSEUM COLLECTIONS

2010

Ventura County Museum of History and Art, Ventura, CA

SELECTED PUBLIC & CORPORATE COLLECTIONS

2007

MGM Grand Hotel, Detroit, Michigan

2006

Classical Progression, Santa Monica, CA

2003

UCLA Medical Center, Los Angeles, CA
Directions Design, Los Angeles, CA
Coldwell Banker, Beverly Hills, CA

The gallery is not accepting any unsolicited submissions at this time

NO WALK-IN SUBMISSIONS WILL BE ACCEPTED