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2004-2005

       

Matthew Ritchie

     

Sue de Beer

     

Rico Gatson

     

2002-2003

       

National Dance Institute

     

Diller & Scofidio

     

Ellen Harvey

     

Lorna Simpson

     

2001-2002

       

töshöklabs

     

Larry Krone

     

Robert Lazzarini

     

Paul Pfeiffer

     

Kiki Smith

     

2000-2001

       

Vik Muniz

     

Glenn Ligon

     

Barbara Kruger

     

1999-2000

       

Fred Tomaselli

 





 





Robert Lazzarini with 2001-2002 Youth Insights participants after his talk with them at Artist's + Youth: A Dialogue.

We had the opportunity to meet artist Robert Lazzarini on April 12, 2002, at Artists + Youth: A Dialogue. We had a conversation with him about his work, which was on display in the 2002 Biennial. Robert Lazzarini told us about the process, including the mathematical aspect of distorting his objects. Lazzarini was friendly and kind enough to answer all of our questions.

Robert Lazzarini, a psychological artist, distorts everyday objects, such as shoes and chairs (and some not so everyday objects such as skulls) into mind-bending proportions.

RESPONSES/ OPINIONS OF THREE YOUTH INSIGHTS PARTICIPANTS:

Shabana: "Everyone was crazy for Robert Lazzarini and his telephone booth when my group interviewed him. He is a great guy, funny and complex. His work is far from simple and his process he usually uses are very complex, which shows his dedication. It's surprising because his work is amazing yet usually challenging."

Christina: "I was so amazed with Lazzarini's telephone booth, that I couldn't wait to have a dialogue with the artist himself. Lazzarini was so friendly and explained his process so well, I felt like I really understood how he made his pieces. I love how Lazzarini really plays with the mind, and challenges you to think beyond what you're used to."

Kiran: "After learning about how meticulous and crazy the techniques Lazzarini uses I had a new respect for him. His work isn't cheap to make, and there are a million different stages and prototypes before the finished project, which goes to show how dedicated to his work he is, he puts it before all else."

© 2001 Whitney Museum of American Art, New York, New York