Michael Lazarus

Michael Lazarus (born 1969) is an American painter. Lazarus has been working since the early 1990's,[1] his first solo exhibition was in 1998 at Feature, Inc.[2] Lazarus was represented by Feature until 2011, exhibiting alongside artists including B. Wurtz, Dike Blair, Jim Iserman, Tom Friedman, Lisa Beck, Takashi Murakami, and Lily van der Stokker. In 2000 he was one of the first 'alternative' artists to have a solo show in the "Gallery 2" program at Andrea Rosen Gallery.[3] Lazarus has had solo exhibitions in Los Angeles,[4] San Francisco,[5] Montreal, Antwerp, and Amsterdam. In 2006 Lazarus' works were exhibited in conversation with Emory Douglas and Corita Kent in "That was then... This is now"[6] at MoMA PS1. Lazarus has also worked as a collaborator in the group Assume Vivid Astro Focus, on two separate projects.[7] Lazarus' work is included in several public and private collections, including The Frances Young Tang Teaching Museum and Art Gallery,[8] The Portland Art Museum, The Progressive Corporation,[9] and JPMorgan Chase.[10] His work is featured in Cut & Paste: 21st-Century Collage.[11] Lazarus' most recent exhibition was at Envoy Enterprises, NY in 2016.[12]

References

  1. ↑ Cotter, Holland (August 2, 1996). "Art in Review: 'Home Is Where the Art Is'". The New York Times.
  2. ↑ "Feature, Inc.".
  3. ↑ Cotter, Holland (March 31, 2000). "Art in Review: Michael Lazarus". The New York Times.
  4. ↑ Pagel, David (September 29, 2006). "Heady hybrids of images, objects". Los Angeles Times.
  5. ↑ Feldman, Melissa. "Michael Lazarus at San Francisco Art Institute and Feature". Art in America (March 2004).
  6. ↑ "That Was Then...This Is Now". MoMA PS1.
  7. ↑ Rabinowitz, [introduction,] Natalie Kovacs ; [text by] Cay Sophie (2010). Assume vivid astro focus. New York: Rizzoli. ISBN 9780847833054.
  8. ↑ Cotter, Holland (January 6, 2011). "Art Review: New Sparkle for an Abstract Ensemble". The New York Times.
  9. ↑ [curator, essays by Dan Cameron ... [et al.] ;; Solender], editor, Toby Devan Lewis ; text editor, Katherine (2007). Artworks : the Progressive collection. New York, NY: Distributed Art Publishers. p. 170. ISBN 1933045728.
  10. ↑ Russell.], [foreword, William B. Harrison, Jr. ; edited by Emily (2000). Art at work : forty years of The Chase Manhattan Collection. New York: Chase Manhattan Corp. ISBN 0963534025.
  11. ↑ Roberts, Richard Brereton with Caroline (2011). Cut & paste : 21st-century collage. London: Laurence King Publishing. ISBN 1856697177.
  12. ↑ "Michael Lazarus". Envoy Enterprises.

Additional sources

Wagle, Kate (2015). Curator and Critic Tours, Connective Conversations: Inside Oregon Art 2011-2014, The Ford Family Foundation and University of Oregon. GHP, Connecticut. pp. 172–173. ISBN 9780871141828. 

Zevitas, Steven. "Pacific Coast". New American Paintings. 121 (6): pp 86–89. 

Roberts, Richard Brereton with Caroline (2011). Cut & paste : 21st-century collage. London: Laurence King Publishing. pp. 104–109. ISBN 1856697177. 

Cotter, Holland (6 January 2011). "New Sparkle for an Abstract Ensemble". The New York Times. 

Johnson, Ken (2 September 2010). "The Allure of the Homespun in the Maw of the Digital Age". The New York Times. 

Cotter, Holland (7 January 2010). "Art in Review: The Perpetual Dialogue". The New York Times. 

Ebgi, Anat. "Reviews". Flash Art. November December 2008. 

Pagel, David (29 September 2006). "Into a void of inhuman beauty". The Los Angeles Times. 

Wei, Lilly. "Reviews". Art News. April 2006. 

Nobue, Isono (2004). Nyūyōku no atorie : nyūyōku āto to kuriētātachi no sugao. Tōkyō: Gyappujapan. pp. 96–99. ISBN 4883572226. 

Melissa, Feldman. "Michael Lazarus at San Francisco Art Institute and Feature". Art in America. March 2004. 

Mondt, Zoey. "Reviews". Art Issues. November December 2001. 

Cotter, Holland (31 March 2000). "Review: Michael Lazarus". The New York Times. 

Cash, Stephanie. "The Hotel as Art". Art in America. December 2000. 

Pagel, David (9 July 1999). "Review". The Los Angeles Times. 

Cotter, Holland (2 August 1996). "Home Is Where the Art Is". The New York Times. 

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