MILO M. LAZAREVIC
500 Riverside Avenue ·
Coxsackie, New York 12051 ·
+1 (518) 731-6126
Milo Lazarevic's sculptures and paintings have been exhibited at galleries and museums in the United States,
Europe and Mexico. His work has been published in The New York Times, Art News,
International Sculpture, Arts Magazine, Soho News, Houston Chronicle, The Houston Post,
Belgrade Evening News, Politica, Belgrade Weekly News, Artes Visuales,
Belgrade Literary News,The Journal News and others.
Lazarevic is a highly regarded educator whose teaching style is energetic and interactive
with a special emphasis on the discovery of each individual’s talents.
He has attained broad artistic perspective from extensive travel on several continents,
enriched by study under many of the great artists and scholars of our time.
COLUMBIA UNIVERSITY, NEW YORK, NY
Education - 1977
Education Degree - 1975
Master of Fine Art Degree - 1974
Bachelor of Arts
Degree, Art History - 1972
Polack- Krasnr Award for Sculpture - 1985, Gottlieb Foundation Award - 1997
Recipient - Columbia University Foreign Student Fellowship -1970
Studied Stone Carving with Josef Campbell, Columbia University - 1967
Studied Bronze Casting, Mold Making, and Metal Fabricating at
A. Stotz AG in Kornwestheim,West Germany - 1965-1967
Studied Photography in Havana Cuba - 1965
Rensselaer Polytechnic Institute, Troy, NY - 1998 - 2014
· Teach Art History and Sculpture to undergraduate students;
supervises graduate students doing independent study.
· Art History course, offered during fall and spring semesters, is an expose of visual art,
from the “Paleolithic age to the Renaissance”. Interpretation in not restricted to the
aesthetic function of the period alone; rather the relationship of art to
ritual, magic, religion, philosophy, literature and music is contemplated.
· The period of Art History from the Renaissance to Postmodernism is offered during the fall
and spring semesters. It considers art as an instrument for shaping aesthetic,
religious, political and social consciousness during the last 5 centuries.
· Sculpture courses are designed to teach the fundamental principle of organizing sculptural
elements through experimental findings as well as through pre-planned
methods of instruction. Consideration is given to fill the gaps in
knowledge of art history and contemporary art criticism.
· Evaluate and critique installations and digital images created by students.
· Work closely with both graduate and undergraduate students studying independently
the design of natural systems.
Clustering of soap bubbles, cracking and grazing, social organization of
animals, seed dispersal.
Human body rhythm, wave motions as revealed by ripple tank, planetary notion as
seen by shadows.
Logarithmic spirals as in seashells, arrangement of sunflower seeds,
acceleration of gravity.
Bilateral and rotational symmetries, kaleidoscopes, snowflakes, human faces.
Random branching of rivers and trees, systems of transportation and
structure of consciousness: Reaction to cold or to heat, reaction to
substances, reaction to fear.
Adjunct Professor, Columbia University, New York, NY - 1973 - 1978
· Taught graduate level sculpture courses to art teachers in a liberal arts setting.
· Delivered instruction to students studying independently
and in a more structured classroom setting.
· Presented new concepts and art media to enhance the imaginative and
creative process for students.
· Instituted Overseas Educational Program for Columbia University, Teacher’s College
in collaboration with Stagio Stagi Institute in Pietrasanta, Italy.
Served as chairman of the program through 1978.
· Resigned teaching post at Columbia University in 1978 and moved to
France to attend lectures at Sorbonne.
. Yugoslav Cultural Heritage
. Outdoor Sculpture
. The worldly and the Naive
. Indoor Sculpture
. Eclectic Sculpture
. Zoomorphic Forms
. Biomorphic Abstractions
. Luminokinetic Sculpture.
. Post-Object Art
EXHIBITIONRECORD/ EXTRACTS FROM NOTED PUBLICATIONS / LECTURES
Leslie Kaufman publishes: “Milo Lazarevic: Centainty, Energy and Clarity”, Sculpture
Magazine, May, 1997, p.10,11.
from article by Leslie Kaufmann -“The imposing quality of Lazarevic’s assembled
sculpture comes not just from their monumentality (many are over eight feet
tall), but also from the powerful presence of the rough embattled forms that
seem to struggle for supremacy, and sometimes just for existence. The
complexity of Lazarevic’s sculptures stems from both the volcanic intensity
that motivates him to create and his relation to the materials with which he
Sculpture exhibit, Clarck Gallery, Lincoln, MA, 1997
One-man Exhibitions at O.K. Harris Gallery, New York City, 1987/1990.
One-man Exhibition at O.K. Harris Gallery, New York City.
Catalogue (32 pages) by Michael Levine, 1993.
from introduction by Michael Levine - “Lazarevic’s world of sculpture resembles
the work of some unknown diety who long ago let loose a brood of ascetics from
his forge. The creation of immensity by means of motion implied through
suspended forms and interlocking rhythmic energy give Lazarevic’s sculpture
spiritual meaning. We feel their magic, but can not touch them or engage them
except in a higher transcendental level. On pages of art history, Lazarevic’s
art will hold its distinction against all interpretation as well as against
International Sculpture Magazine, “Judge” by Milo Lazarevic, May/June 1986, p. 37.
James Beck publishes: “Sources for Milo Lazarevic”, Arts Magazine, May 1986, p. 34.
"The bottom line is that these sculptures by Milo Lazarevic are superb, honest,
forceful creations that are among the finest works made in this generation.”
Exhibit of large oil paintings at the Blue Hill Cultural Center, Pearl River, NY, 1986
One-man show at O.K. Harris Gallery, New York City, 1985 - 1986.
One-man show at Sindin Galleries, New York City, 1982 and 1983
Exhibits at the Kennedy Cultural Center, Washington, DC by invitation of the Vice
President of the United States and his
wife, Walter and Joan Mondale, 1982.
One-man exhibition of paintings and drawings at Gallerie Marcel-Lenoir, Paris,
One-man exhibition at Sindin Galleries, New York City, 1980. Catalogue (18 pages) by:
from introduction by Maxine Green - “Lazarevic creates a colony of the
persecuted, and he establishes them in imaginary space. Doing so, he places
them at a distance and requires his spectator to make an effort, indeed a leap.
One must leap out of the ordinary, the taken for granted; and one must grasp
what is not yet. That is what freedom signifies: to refuse what is and move
beyond. These sculptures evoke a world that demands human freedom; they ask for
a promise to change.”
One-man show at Galerie Marcel-Lenoir, Paris, 1979.
One-man show at Sindin Galleries, New York City, 1979.
Lectures on Sculpture at the College of New Rochelle, NY, 1978.
Exhibit with “Artist 77” at the Union Carbide Building, New York City, 1977.
One-man exhibition at the West Broadway Gallery,
New York City, Catalogue by Phillips
Publishing Company, 1975.
Extract from introduction by William Mahoney - “I wish to
acclaim Milo’s ability as a teacher. I have watched his students develop
extraordinarily well as sculptors. Milo has been able to impart a profound
understanding and sense of his problems and nature of sculpture to his classes.
His students develop the abilities, sensitivities, and the sustained effort to
the production of sculpture. The excellence of Milo’s sculpture is tangible and
readily evident. His abilities as a teacher are known only to his students and
colleagues and I know these abilities are equal to his competence as a
One-man exhibition at Covo de Yong Gallery, Houston Texas, 1976.
Sculpture exhibits, United Nations and Yugoslav Culture Center,
New York City, 1976.
One-man exhibition at the Yugoslav Cultural Center in New York City, 1974.
Shows with the United Artist Group at the Union Carbide Building, New York City,
First solo exhibition at Zigfield Gallery and the 14 Sculptors Gallery, Catalogue of
exhibition by Sherry Luplianez, 1973.
De Liser, Carolyn, The Journal News, January 17, 1986.
Bernson, Michael, “Between Drawings and Sculpture”,
The New York Times, December 20, 1985, p. C-29.
Extract from review by Michael Bernson:
“Milo Lazarevic takes an ancient material and works with it in a modern way. With its striations and its porous Surfaces,
the aged stone suggests ancient ruins, The Architectural and imagery is also suggestive of the ancient world.
However, Lazerevic also carves the marble intoblocks that resemble slabs of steel.
Using cement, he assembles them into constructions that recall the 20th century constructive tradition,
from Cubism through David Smith. The sculptures have an immediate impact.”
Nadelman, Cynthia, Art News, September 1980, p. 247, 248.
Moser Charlotte “ The Influence of Milo Lazarevic”, Houston Chronicle,
Saturday October 9, 1976, p.8, section 2.
Grossly Mimi, “Milo Lazarevic Sculpture”, The Houston Post,
October 7, 1976, p.7 BB.
Drazic Milena, “Creating for the All World”, News,
Belgrade, March 29, 1976.
Moser Charlotte, “Surrealism and Voyeurism” Art News,
December 1976, p.78
“Lazarevic is intent on pushing the marble into delicate
connections, forcing his material nearly to the breaking point. Highly polished
forms twist and intertwine in almost classical virtuosity.”
Betz Margaret, “Milo Lazarevic” Art News,
October 1975, P. 118.
work of Lazarevic in marble, stone and wood is full of the vitality of human
forms, presented in a way possible after the sculptural revolution brought
about by Brancusi and Henry Moore. Their influences is sensed rather than
visible, for the tangled limbs of stone, ultimately resolve into remarkably
supple, daring intuitions of the limits to which this material can be pushed.”
Drazic Milena, “Face to World Face” Weekly News,
Belgrade, June 8, 1975
Dimic Moma, “American Meditation”, Literary News, Belgrade,
June 9, 1975, p. 9, 10.
Gustincic J. “Yugoslav at Madison Avenue”, Politika,
Belgrade, May 24, 1975, p. 17.
Personal History / Travel / Languages
Born near Koror,
Montenegro. Father was American, mother Montenegrin.
Canada in 1967. Moved to the U.S. 1968. Became a U.S. citizen in 1974.
Gained a greater
understanding of other cultures through independent travel to:
Saudi Arabia, Bahrain, Venezuela, Panama, Columbia, Monaco, Canada, and Alaska;
Italy, Spain, and Monaco as part of a group expedition, and to North Europe, Asia, Africa and
the Americas with the Merchant Marine (1959 - 1964).
Yugoslavia to research sculpture in a Marxist Humanist Society (1976).
Lived in: United States, Germany, Italy, Spain, France, Cuba and Yugoslavia.
Fluent in: English and Serb-Croatian.
Reasonable knowledge of: Russian, German, and Italian.