United States
Julie Lazar is an independent curator and producer specializing in the production and presentation of new artworks in multiple contemporary art genres. Lazar relocated to California to serve as a founding Curator and then Director of Experimental Programs at The Museum of Contemporary Art, Los Angeles. Earlier in New York City, she led development and arts administrative programs at MoMA/P.S.1 Contemporary Art Center, Hudson River Museum, Rockefeller University, The Museum of Modern Art, and Lincoln Center for the Performing Arts. Among the artists Julie Lazar has worked closely with are: John Adams, ARTCAMP, Belkis Ayón, J.D. Beltran, Dove Bradshaw, Anne Bray, John Cage, Ann Carlson, Lucinda Childs, Mel Chin, Ellen Sebastian-Chang, Remy Charlip, Paul de Jong, Juan Devis, Anthony Discenza, Sandro Dukic, Karen Finley, Bill Fontana, Weba Garretson, Geoff Gallegos, Frank Gehry, Guillermo Gómez-Peña, Brent Green, Renée Green, Jan Henle, Gary Hill, Louis Hock, Joan Jeanrenaud, Hirokazu Kosaka, Elizabeth LeCompte, Mingwei Lee, George Legrady, Sherrie Levine, Rick Lowe, Anthony McCall, Julia Meltzer and David Thorne, Pat O'Neill, Tim Robbins and the Actors' Gang, Connie Samaras, Betye Saar, Peter Sellars, Marie Sester, Harry Shearer, Susan Sontag, Carl Stone, Elizabeth Streb, Adam Silverman, Do-ho Suh, Nader Tehrani, Mierle Laderman Ukeles, Ron Vawter, Bill Viola and Garry Winogrand.
"Hirokazu Kosaka: Art & Asymmetry,” 2025 (HK:AA) is an artwork as exhibition created in collaboration with architect Michael Rotondi with participation by three Los Angeles-based ikebana schools. HK:AA incorporates artworks, tools and remnants of Kosaka’s art-making drawn from his visual, sound, landscape, and solo body experiments of the early 1970s to his current large-scale, community projects that seamlessly incorporate contemporary art concepts with ideas and traditions of calligraphy, flower arrangement, archery, temple garden design, tea ceremony, woodblock printing, enso painting, nōh drama as well as Shingon Buddhism. An accompanying 212-page fully illustrated catalog is published by Japanese American Cultural and Community Center (JACCC) co-edited by project manager Stephanie Emerson, designed by Amy McFarland, and copy edited by Elizabeth Pulsinelli. The publication includes introductions by JACCC ED/CEO Patricia Wyatt and Julie Lazar with essays by the artist, Lauren Deutsch, Ana Iwataki, Rika Hiro, Kenji Liu, Karen Moss, Mark Swed and Louise Steinman, a conversation between Peter Sellars, Swed and Kosaka, interviews by Keenan Jay and an annotated chronology assembled by Julie Zhu. Related talks, gallery tours, presentations, performances and partnerships are produced by Julia Carnahan. A micro website associated with jaccc.org serves as a living archive for Kosaka’s art.
Julie Lazar serves as an independent curator and producer focused on the creation, dissemination and public understanding of contemporary, time-based and digital art. Organizational clients include: American Film Institute; Arena 1; Art Center College of Design; Center for Cultural Innovation; City of San José's Office of Cultural Affairs; California College of the Arts; Cornerhouse (Manchester, UK); Creative Capital; FringeArts; Getty Museum; Hull Time Based Arts (Hull, UK); Japanese American Cultural and Community Center; KCET Community Television; Korea Arts Foundation of America; Freewaves; Los Angeles Cultural Affairs Department; Los Angeles Metropolitan Transit Authority’s Transit Art Program (MetroLab), Manchester International Arts Festival; Montalvo Arts Center; McEvoy Foundation for the Arts; The Museum of Contemporary Art, LA; Nasher Sculpture Center; Orange County Museum of Art; Santa Monica Museum of Art; Seattle Public Arts Commission; University of California Institute for Research in the Arts; University of San Francisco, and University of Southern California's Annenberg/Getty Arts Journalism Fellowship Program.
REMY CHARLIP'S IMAGINATION Gestated and conducted preliminary organization of the first exhibition to thread together connections between the disciplines Remy Charlip practiced over his 63 year journey as a freelance visual and performing artist, educator and healer: textile and graphic design, watercolor painting, drawing, dancing, acting, choreography, writing, illustrating, and directing by the display of a panoply of resources drawn from his archive in Emeryville. Note: Cancelled during Covid pandemic.
COMMON WEALTH AND THE TERRITORY OF ART Planned a forum with related exhibitions and events for the UCIRA at UC Santa Barbara in partnership with UCLA's Center for the Art of Performance, Hammer Museum, Getty Research Institute and Los Angeles County Museum of Art. CWTA was conceived to explore a range of approaches, strategies and perceptions of U.S. and international artists (often working collectively and across disciplines) whose art explores the condition of “common wealth” in its broadest sense. Designed for interdisciplinary dialogue needed to stimulate and enhance a healthier, more equitable social, political, economic and natural environment.
Supervised a Master of Arts capstone program in the department of Art History and Theory that engaged students in defining, researching, producing and presenting a project that focused on how to stimulate youth to utilize their city as an art studio. Students created a website to promote a youth arts education program in community centers throughout the Bay Area: www.citystudio.org, developed and taught a new class for the program, City Studio Press: Artists as Journalists.