Robert Lazzarini

Artist Talk: Robert Lazzarini
Soho House, Berlin, Germany
Saturday, December 17, 2016, 4:00pm

Robert Lazzarini

The SoGood
Meet The SoGood: Robert Lazzarini
March 12, 2015

Rosson Crow, KAWS, Robert Lazzarini and Erik Parker in the Modern Auction

The Modern Auction celebrates ten years of the FOCUS series and benefits Future Acquisitions and Programming for the Director's Council FOCUS Exhibition Series.

Robert Lazzarini in Elle Magazine

Artfab: Fabiola Beracasa Talks with Robert Lazzarini
By Fabiola Beracasa
April 17, 2013

ELLE: When you distort an object, you replicate the material that it's made of, i.e. the skulls are made of cast bone. What is the relevance in keeping the material sincere?

Robert Lazzarini: Well, the notion of eliminating material translation in the work is very important. It's a way of eliminating art-specific material as a mediating factor between the viewer and the work. So if the skulls were made of, say, papier-mâché, the experience would be totally different. It's important that they resemble bone as closely as possible. It's also a way to think about the notion of representation. In essence, the material representing itself. Eliminating art-specific materials in my work is also a way to allow transformation to be emphasized in other aspects of the work, say, in the space around the object or in the forms within.

Robert Lazzarini Guns, Knives, Brass Knuckles Catalogue Now Available

Robert Lazzarini: Guns, Knives, Brass Knuckles features texts by Judith Rodenbeck, Alva Noe and Jonathan T.D. Neil as well as photographs from the traveling exhibition.

Robert Lazzarini in The Brooklyn Rail

Robert Lazzarini with Jonathan T.D. Neil
By Jonathan T. D. Neil
November 6, 2012

Jonathan T.D. Neil (Rail): You have a new body of work that's going to be showing at Marlborough Chelsea this month, the title of which is (damage). How does it depart from what you've done previously?

Robert Lazzarini: I was interested in creating a group of works that were affected somehow prior to their distortion. I guess something more aggressive than just representing the effects of use on the object. But I was also interested in the notion of object as landscape, you know, the way an object could become a kind of stand-in for a larger scene. An idea that was actually the basis for an earlier sculpture, "payphone." 

November 6, 2012

Robert Lazzarini at Marlborough Chelsea

With (damage), Robert Lazzarini charts a new American landscape, one that is fragmented, broken, disturbed and, of course, distorted. We are given a safe, a window, a liquor sign, a motel door, a chain-link fence topped by concertina wire, a padlock and chain, all blown or busted, all cut free from their original setting, and all bent by some force other than the intimately human (such as a kick, a cut, or a punch) even as they exhibit the effects of the latter as well. Each work is at once ruin and representation, a rethinking of the 'picturesque', where irregularity, dynamism, and fluidity do not combine to produce an aesthetic lesson on nature's well-ordered world but reveal instead a landscape neither beautiful nor sublime but seemingly very far from equilibrium.

November 15 - December 22, 2012
Marlborough Chelsea
545 W 25th St. New York, NY 10001

Robert Lazzarini at Shizaru Gallery in London

Shizaru Gallery presents BAD FOR YOU, an exhibition of contemporary art curated by Beth Rudin DeWoody. Composed of artists based primarily in America, BAD FOR YOU seeks to capture the panoramic strand of contemporary art that deals with the exhibition's eponymous title. BAD FOR YOU opens October 10, 2012.

112 Mount Street London, England W1K2TU
October 10, 2012

Robert Lazzarini in Art + Auction

Robert Lazzarini
By Scott Indrisek
September, 2012

Material destruction, attention to the most minute detail, and obsessive research are all hallmarks of Lazzarini's practice, which results in intricately altered sculptures of skulls, violins, pay phones, brass knucklesm guns, and signage. The artist distorts the contours of the original object with computer modeling to arrive at a new form, then fabricated the sculpture using appropriate materials: A sculpture of a hammer, for example, will be made of wood and steel, and a skull cast from actual bone powder.

September, 2012

Robert Lazzarini at Marlborough Gallery

Robert Lazzarini's work has been included in "Blind Cut," a group exhibition curated by Jonah Freeman and Vera Neykov at Marlborough Gallery. The works included address diverse notions surrounding the themes of fiction or deception. This collection, spanning several generations from Dada to the present, poses questions regarding identity, authorship, originality and reality. The practices and methodologies range from: depictions of fictional places, imagined personas, inaccurate histories, invented language, urban utopias and complex, unrevealed material gestures.

545 West 25th Street New York, NY 10001
Exhibitions runs from Jan 19, 2012 - Feb 17 2012

Robert Lazzarini Collaborates With Maharam Digital Projects

Robert Lazzarini has collaborated with Maharam Digital Projects to create a large-scale digitally printed wall installation.

Created by emerging and established artists, Maharam Digital Projects is an interdisciplinary initiative reflecting the increasing convergence of creative media.

Maharam Digital Projects are printed on washable substrate with UV-resistant water-based pigment inks and are scaled and produced on a project specific basis.

To view Lazzarini's project with Maharam, please click .

Annie Lapin and Robert Lazzarini at Gavlak Gallery

Sentimental Education
November 22 – January 7, 2012

Sentimental Education includes 69 works by 40 international established and emerging artists and examines the many lures with which art history seduces the artist and how the artist returns the favor.

The title comes from the 1869 Gustave Flaubert novel in which an impressionable young man falls in and out of love with a worldly, sophisticated married woman. Much like in the novel's affair, an artist's relationship to the history of art can range from impassioned idolatry to bemused flirtation to scornful critique.

Sentimental Education also illuminates the shared sensibilities present in works created during different time periods, the Renaissance, and Rococo to Dadaism, Pop art, and the Pictures Generation to the generation working (and still appropriating) today.

Robert Lazzarini in Huffington Post

October 31, 2011
We've seen Robin Williams tackle quite a few roles throughout the years: cross-dressing nanny, fast-talking genie, that guy who invented flubber and now... curator. Williams and his son Zak recently collaborated on "Taking Sides," an exhibition that's a far cry from the actor's comedic past.

Robert Lazzarini in Edel Assanti

July 18, 2011
By Edel Assanti
In his sculptures, Robert Lazzarini twists everyday objects so that they are at once unrecognisable and utterly familiar. Here he talks to Celia White about what this material manipulation involves, and about the work he is showing in Edel Assanti's current exhibition Objet Dada.

Robert Lazzarini at Yautepec

Sep. 8 - Oct. 22, 2011
Opening Reception:
September 8, 2011 8PM - 11PM
Beginning with a familiar object — a gun, brass knuckles, a pack of cigarettes — Lazzarini's process involves subjecting the object to a series of compound planar or compound sine wave distortions via mathematical algorithms. Resulting instances of this process of manipulation are then recreated utilizing the original materials of the chosen object, thereby eliminating material translation.

Robert Lazzarini in RxArt

RxArt Blog

The RxArt Team was invited by Brooklyn-based artist Robert Lazzarini for a studio visit to get an up close and personal look at his visually stunning sculptures and drawings. Robert Lazzarini is a graduate of the School of Visual Arts in New York City and has mastered the art of visual manipulation in his artwork.

Kaws and Robert Lazzarini in The Book of Skulls

Laurence King in September 2011 features more than
150 examples of the use of skulls in contemporary culture;these include skulls from fine art, design, music and fashion. The book brings together iconic and original work from some of skull cultures most inspirational artists, designers and illustrators including Wes Lang, KAWS, Shepard Fairey, Chaz, Boroquez, Mirko Ilic, Ian Wright, French, Savage Pencil, Noah Scalin, Alastair Mackie, Nicola Bolla, Amy Sarkisan, Stephen Thompson, Alexander McQueen, Vivienne Westwood, and Mouse + Kelley.

Robert Lazzarini, Erik Parker, and Kenny Scharf on Artnet

FOCUS: Robert Lazzarini at Modern Art Museum of Fort Worth

It Ain't Fair 2010 at OHWOW

December 2 - December 5, 2010

Exhibition design by Rafael de Cárdenas

81 NE 40 Street / Miami Design District / FL / 33137

It Ain't Fair is the third edition of OHWOW's annual group exhibition, presented to coincide with Art Basel Miami Beach. Offering an alternative to the overwhelming mazes of art fair booths, It Ain't Fair will highlight a cogent selection of leading-edge art. From painting to performance, sculpture to sound, the exhibition delivers a comprehensive survey of emerging and established artists' most recent work. In addition, the exhibition will present special projects and programming, such as site-specific installations and video screenings. It Ain't Fair is exactly that – not a fair, but a multimedia production, providing a critical scope of contemporary art innovation.

KAWS, Robert Lazzarini and Kenny Scharf in STICKERS: From Punk Rock to Contemporary Art

Robert Lazzarini - guns, knives, brass knuckles

guns, knives, brass knuckles, is an installation and exhibition of sculpture by New York based artist Robert Lazzarini. All of Robert Lazzarini's sculptures of the past decade begin with what the artist calls a 'normative object'. The works in the exhibition start with .38 Smith & Wesson Model 10 revolver, a set of common kitchen knives (chefs, paring, pruning, cleaver, etc.) and a unembellished pair of brass knuckles. These objects are then subjected to mathematical distortions and fabricated out of the materials that are original to the objects themselves: blued carbon steel and walnut for guns, stainless steel, wood and plastic for knives; and yellow brass for brass knuckles. The combination of these distortions with the lack of any conventionally artistic 'material translation' (e.g. a car out of cardboard; flesh out of marble) renders these objects familiar yet strange and difficult, quite literally, to grasp. In canting the gallery's walls, Lazzarini extends the dislocation exercised on his objects to the space of their display. This altered environment not only further subjects one's perceptions to a kind of visual slippage, but also connects Lazzarini to a lineage of artists, from Richard Serra to Alberto Giacometti, distinctly concerned with processes of perception and visual abstraction.

The exhibition opens July 8, 2010, 6-8pm

The FLAG Art Foundation
545 West 25th Street, 9th floor
New York, NY 10001

Ed Schad reviews Robert Lazzarini's guns, knives, brass knuckles

I've been trying to write about Robert Lazzarini for weeks now and it has been difficult. His sculptures of guns, knives, and brass knuckles (the least strong of the bunch) are a disruptive perceptual experience. They are fuzzy in the gallery space, suspended before the eye as something not quite seen, not quite graspable. So busy spinning in a familiar world suddenly made strange, my sentences and words found no traction. Words do exactly the opposite of what Lazzarini's sculptures do -- they anchor things, they take experience and settle it down. Lazzarini's sculptures are unsettling...

Robert Lazzarini talks with Jonathan T.D. Neil, April 10, 5 - 6pm

Saturday, April 10, 5 - 6pm

2622 S. La Cienega Blvd.
Los Angeles, CA 90034

Robert Lazzarini lives and works in New York. He received a Bachelor of Fine Arts from the School of Visual Arts, New York. Lazzarini has shown both nationally and internationally with solo exhibitions at Deitch, New York, the Aldrich Museum, Ridgefield, CT and group exhibitions at Yautepec, Mexico City, Haunch of Venison, New York, and FLAG Art Foundation, New York.

Jonathan T. D. Neil is Editor at Large for ArtReview magazine, Executive Editor of the Drawing Papers series of publications for The Drawing Center, New York, and a partner of Boyd Level LLC, a private curatorial firm. He will defend his Ph.D. dissertation (Columbia University) this spring and is at work on two book projects.