KS: I’m struck by your commitment to rendering blood on the print exactly the way blood would spurt, or in the case of the vinyl floor piece, as if a body has been dragged across it. And in fact, a body will be literally dragged across it.
That’s Katie Sonnenborn talking to RObert Lazzarini in the new issue of MUSEO about his new bloodstained wallpaper prints. The prints are the result of Lazzarini’s visual arts fellowship at the Neiman Center for Print Studies at Columbia University. ”The deathly object is something that I think about quite a lot,” he says. Katie asks him about this preoccupation, but Lazzarini seems more interested in formal issues. That’s fine, for now. It is interesting to hear him explain the decisions behind his current show at the Aldrich Museum.
We also get great interviews with Shana Moulton, and with Roxy Paine, whose giant aluminum environmental sculptures must have a great tan after laying out in Madison Square Park, and then migrating to the roof at the Met.
And the great innovation of the new MUSEO is a site-specific project curated by the marvelous Timothy Hull, artist and egyptologist, and MUSEO honcho David Shapiro. From the curators:
“For this project, artists were asked to create “screen captures” of images using their desk-top as a substrate. It is reasonable to assume that many artists have multiple folders, images, screen wallpapers and open windows on their desktop at any given time. These ephemera of the desktop can either be functional, aesthetic, or both- constantly changing and shifting in meaning and intent as well as position. The screen capture (screen cap) is a tableau of a particular moment in time- on a very private medium: the personal computer. The purpose of this project is to either gain insight into the private, ad-hoc composition of a desktop or to push the boundaries of the discursive arrangement of images and other digital ephemera on the desktop as composed specifically by the artist.”
Fifteen artists submitted screenshots of their computers. We get behind the scenes to see layers of windows, desktop backgrounds, google search results, and dazzling Photoshop abstractions.
Are they photographs? But there is no object for light to sculpt. Collage? They are layered, but “collage” is etymologically obligated to pasting or gluing, neither of which happened here. Maybe performance? Process? I like Devon Costello’s ersatz Kandinskys, Robert Melee’s couch potato, and Jimmy Joe Roche’s multimedia terrordome.
Robert Longo, The Ascension (for Glenn Branca album), 1981
KS: I’m struck by your commitment to rendering blood on the print exactly the way blood would spurt, or in the case of the vinyl floor piece, as if a body has been dragged across it. And in fact, a body will be literally dragged across it.
Robert Lazzarini, blood on wallpaper (blue gingham), 2008
That’s Katie Sonnenborn talking to Robert Lazzarini in the new issue of MUSEO about his new bloodstained wallpaper prints. He made them during his visual arts fellowship at the Neiman Center for Print Studies at Columbia University.
“The deathly object is something that I think about quite a lot,” he says. Katie asks him about this preoccupation, but Lazzarini seems more interested in formal issues. That’s fine, for now. It is interesting to hear him explain the decisions behind his recent exhibition at the Aldrich Museum, called Guns and Knives.
We also get great interviews with Shana Moulton, and with Roxy Paine, whose giant aluminum environmental sculptures must have a great tan after laying out in Madison Square Park, and then migrating to the roof at the Met. Check out Maelstrom.
And the great innovation of the new MUSEO is a site-specific project for the MUSEO website. Open Apple Shift 3 is curated by the marvelous Timothy Hull, artist and egyptologist, and MUSEO honcho David Shapiro. From the curators:
“For this project, artists were asked to create “screen captures” of images using their desk-top as a substrate. It is reasonable to assume that many artists have multiple folders, images, screen wallpapers and open windows on their desktop at any given time. These ephemera of the desktop can either be functional, aesthetic, or both- constantly changing and shifting in meaning and intent as well as position. The screen capture (screen cap) is a tableau of a particular moment in time- on a very private medium: the personal computer. The purpose of this project is to either gain insight into the private, ad-hoc composition of a desktop or to push the boundaries of the discursive arrangement of images and other digital ephemera on the desktop as composed specifically by the artist.”
Screen capture by Robert Melee
Fifteen artists submitted screenshots of their computers. We get behind the scenes to see layers of windows, desktop backgrounds, google search results, and dazzling Photoshop abstractions.
Screen capture by Ben Weiner
Are they photographs? But there is no object for light to sculpt. Collage? They are layered, but “collage” is etymologically obligated to pasting or gluing, neither of which happened here. Maybe performance? Process? I like Devon Costello’s ersatz Kandinskys, Robert Melee’s couch potato, and Jimmy Joe Roche’s multimedia terrordome.
KITT to the rescue
Written by: Michael Bilsborough
Posted in: Exhibitions, Publications
Tags: Aldrich Museum, David Shapiro, Katie Sonnenborn, MUSEO, Neiman Center for Print Studies at Columbia University, Open Apple Shift 3, Robert Lazzarini, Robert Melee, Roxy Paine, Shana Moulton, Timothy Hull
