Robert Lazzarini’s Teacup

While the rarity of the piece is nothing to write home about – an unknown albeit large number were made as part of the Peter Norton Family Christmas Gift for 2003 – the draw of the piece for me has more to do with the content rather than the value.

As I’ve mentioned elsewhere, increasingly my interests (at least as far as acquisition interests) have been circling pieces that deal in the visual distortion realm. Teacup fits the bill.

My interest in this piece are threefold. Firstly, I thoroughly enjoy Lazzarini’s experimentation with and distortion of the visual. His larger works (showing soon at Deitch Projects after a “building malfunction” delayed the opening) are more two-dimensional explorations of warped objects, thus making this object multiple a bit of a rarity in that sense, but still maintain this slightly unbelievable aspect to his work which I love. The almost required double take when viewing a Lazzarini is what gets me.

Secondly, the obvious appreciation of the narrative of art history that Lazzarini possesses is admirable.  Oppenheim’s Object of 1936 is a direct predecessor to Teacup. While this could be argued to be the low hanging fruit of the art historical narrative, I still enjoy the quotation greatly. In his other work, Lazzarini goes back even further to Holbein the Younger’s The Ambassadors.

On a much more personal level, I like the backstory behind this work. Technology surrounds this piece in every direction: Peter Norton (of Norton AntiVirus fame) commissioned it and even the piece itself was designed and prototyped using a computer. The juxtaposition of this hi-tech and the image of a teacup that one would borrow from an elderly aunt is engrossing.

Related posts:

  1. Lásló Moholy-Nagy, Alexander Bortnyik, and Walter Gropius: The Issue of Depth in Geometric Abstraction The discussion of art history is a discussion of a narrative, a thread of artistic consciousness that is passed from...

04. April 2011 by Chris
Categories: Academic writings, Art | Tags: , , , , | Leave a comment

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