Robert Lazzarini   skulls installation at the whitney museum of american art, bitstreams     skulls, 2000 whitney installation view approx 14" x 3" x 8" resin, bone, pigment edition of six (sets of 4 skulls); sold           skulls, 2000 approx 14" x 3" x 8" resin, bone, pigment edition of six; sold         skulls, 2000 approx 14" x 3" x 8" resin, bone, pigment edition of six; sold         skulls, 2000 approx 14" x 3" x 8" resin, bone, pigment edition of six; sold       skull, 2000 approx 14" x 3" x 8" resin, bone, pigment edition of six; sold   Robert Lazzarini's new sculptures continue his exploration of compound distortions of three-dimensional objects. The intensity of these works comes from the fact that they linger somewhere in between an image and an object. The distortions oscillate between two- and three-dimensionality, creaing an unsettling spatial paradox. They appear to expand and contract as your vantage point shifts, suggesting something both static and moving. Within the context of the still life, Lazzarini draws upon the historical relationship between distortion and death and object as momento mori. The sculptures have the impression of collapsing upon themselves, slipping towards their end. Lazzarini utilizes two-dimensional distortions such as anamorphism (accelerated perspective) and applies them to three-dimensional objects. As the object becomes a projection of the image, the wall becomes a projection of the ground. All of the works in this group are derivatives of specific objects. The original object is digitized and brought into computer space as a 3D model. Using both animation and industrial design programs, the distortions are applied using a computer workstation. Models are then generated by various means of rapid prototyping (computer-generated model making). The final sculpture is then made using the same materials as the original object. Lazzarini has created four new sculptures for this show: hammers (oak, steel), boot (leather, rubber, vinyl, metal), telephone (plastic, metal rubber), and chair (maple).   to view other Robert Lazzarini works to view payphone installation at the whitney museum of american art, whitney biennial 2002   brief bio solo exhibitions 2000 Pierogi, Brooklyn, NY 1998 violin, Pierogi 2000, Brooklyn, NY 1995 Gina Fiore Salon, New York, NY selected group exhibitions 2002 The Whitney Biennial, The Whitney Museum of American Art, New York, NY On Perspective, Gallery Faurschou, Copenhagen, Denmark Situated Realities" Works from the Silicon Elsewhere, MICA, Baltimore, MD 2001 Brent Sikkema Gallery, New York, NY Bitstreams, The Whitney Museum of American Art, New York, NY Pierogi Flat Files, Block Artspace, Kansas City, MO 2000 Minutiae, Southeastern Center for Contemporary Art (Secca), Winston-Salem, NC Haulin' Ass, Post, Los Angeles, CA Multiple Sensations, Yerba Buena Center For the Arts, San Francisco, CA 1998 Invitational '98, Stefan Stux Gallery, New York, NY 1997 New York Drawers, Gasworks Gallery, London and The CornerHouse, Manchester Current/Undercurrent: Working in Brooklyn, Brooklyn Museum of Art, Brooklyn, NY Gramercy International, Gramercy Hotel, Pierogi 2000, New York, NY Genuine Fiction, W-139, Amsterdam 1996 Gramercy International, Gramercy Hotel, Gina Fiore Salon, New York, NY Independents Show, Galeria El Bohio, New York, NY Self Images, HBO Corporate Gallery, New York, NY 1994 Second Independents Biennial, Galeria El Bohio, New York, NY Soup, 10, New York, NY Intercourse, Mustard, Brooklyn, NY bibliography New York Magazine, March 10–17, 2002. Tim Griffin, "Bi American," Time Out NY, March 14–21, 2002 Jerry Saltz, "American Bland Stand," The Village Voice, March 7, 2002 Ariella Budick, "Modern Media Blitz," Newsday, March 10, 2002 Sarah Douglas, "The 70th Whitney biennial opens," The Art Newspaper, March 2002 Dan Bischoff, "Moving images: At the Whitney Biennial, everything–even the facade–is in motion," The Star-Ledger, March 7, 2002 Jessica Dawson, "In Computer-Enhanced Pics, Gee Whiz Overwhelms the Art," Washington Post, March 7, 2002 Lee Gardner, "Brave New World of Digital Imaging Wears a Traditional Face Too," Baltimore City Paper Online, February 2002 Barbara Pollock, "Back to the Future with 'Bitstreams'," Art in America, September 2001 Nicole Krauss, "Still Life with Phone and Gun," Art News, June 2001 Katie Clifford, "Bitstreams," Art News, June 2001 Denise Carvahlo, "Bitstreams," Flash Art, May - June 2001 Robert Atkins, "Surface Pleasures," Art Byte, May - June 2001. Micaela Giovannotti, "Bitstreams," tema celeste, Year XVIII, #85, May - June 2001 Jerry Saltz, "Byte Lite," Village Voice, May 1, 2001 Tim Griffin, "The End of the Beginning," TimeOut NY, April 26 - May 3, 2001 tema celeste, "News and Around," #84, March - April, 2001. Lee Rosenbaum, "Tech Art: Boom or Bust?," The Wall Street Journal, April 6, 2001 Mark Stevens, "Geek Art," New York Magazine, April 2, 2001 Michael Kimmelman, "Creativity, Digitally Remastered," The New York Times Magazine, March 23, 2001 Steve Bodow, "The Whitney's Digital Sampler," New York Magazine, March 26, 2001 Glenn R. Phillips, "Bit Streams," Inter Vista, Vol. IV, #24, Fall - Winter, 200-01 Max Henry, "Features: Robert Lazzarini," tema celeste, Year XVIII, #83, January - February 2001 Winston-Salem Journal, "Adding Extra to Ordinary," January 7, 2001 Art Byte, "Speed Reading," January - February 2001, Winter 2001 Preview, January 2001 Matt Muro, The New York Times on the web, Pick of the Week, October 2000 Art News Special: The Cutting Edge, "Small Budgets, Large Ambitions," October 1996 Robert Edelman, "Robert Lazzarini," Cover Art, March 1996 awards New York Foundation for the Arts, Visual Arts Grant, July 1985 New York Foundation for the Arts, Visual Arts Grant, renewal, June 1986 education 1990    BFA, School of Visual Arts 1985   Parsons School of Design
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