In the beginning Kathleen Laziza moved her family from Manhattan's Soho area where she and partner William Laziza were already working as an artistic network, producing public access video, and raising a youngster to the 2nd floor of 123 Smith Street. Their videodance and videoart works aired at ABC No Rio, Wow Cafe, RYO, Context Hall, The Roxy, etc.. Displacement is a chronic condition for the artists of NYC. Being a Certified Artist for the City of NY via NYC Department of Cultural Affairs did not help her stay in Manhattan so Brooklyn seemed like a good option for the Laziza family. Kathleen was already catering meals for families with special diets, so moving close to Shahadi's seemed remarkably fortunate plus PS 261 was practically the backyard to Micro Museum.
Prior to arriving in NYC 1981 Kathleen Laziza was a notable visual artist and choreographer from TX. She was trained as a calligrapher and operated a small cottage business using those skill. Drawing and paintings were a natural extension. Her mentor was William Lester, where she apprenticed from 1977-1979. In addition, she received commissions to produce public performance events from Austin's Dance Umbrella as well as other private patrons. As a co-owner of notorious night club on 8th/Congress "After Ours" she booked stage acts like Stevie Ray and Jimmy Vaughn. William Laziza was already a significant part of her collaborative efforts. Eight drawings were purchased by Papyrus Institute in Egypt in 1979. Her drawings and paintings are always on display.
The story of LED Co. actually starts with LVLP which stands for Laziza Videodance and Lumia Project. The project was birthed at 30 Bond street in Soho area of Manhattan, where Kathleen and William Laziza were raising a newborn, inventing low-tech special effects for video, showing their video collaborations in small venue or through national public access channels and creating a team of dancers, musicians, videomakers and visual artists.
Back in the day the artists of Micro Museum were considering pioneers for an area of Brooklyn that was not know for it's safety. However it was filled with a beautiful diversity that allowed associate artists to fit right in. Kathleen Laziza directed her network of independent artists (LED Co) with weekly rehearsals and monthly public events. Her dance experiments sometimes involved neighbors who were invited to move for a video camera. For example William Laziza fabricated a hand held "warp lens" that manipulated the subject's body in poetic ways on the dancers of LED Co. but in Carroll Park the local kids became "coneheads."
Many of Laziza's interactive sculptures embrace concepts about communication. For them, it is a constant open question. Why and how do humans communicate and what does it do to us or say about us? These touch sensitive, user friendly art works have the ability to provoke the way we think about museums. This collection of installations are displayed at the museum.
The Brooklyn Heights Playground Committee hired Micro Museum to direct their summer arts/science/movement program from 1990-2014 at Pierrepont Park. In that time, under the direction of Kathleen Laziza, Brooklyn youngest residents and families visiting Brooklyn's famed Promenade produced over 3,000 projects every year. She trained dozens of NYC's future teachers and offered internship opportunities to hundreds of Brooklyn youth. Many of the organizations (Chinese American Planning Council, Good Sheppard Services, The South Brooklyn Local Development Corp., City-As-School, Center for Family Life) became partners to the museum and the students were able to receive first job experience as well as being paid minimum wages via NYC's Youth and Community Development Programs.
The parents of PS 261 approached Micro Museum with a request to host after-school activities on the school's premise. This program was known as "WHOLE ARTS." It was an active force in the neighborhood school from 1990 - 2000. Micro Museum extended these services to PS 29 from 1992-1994. Meanwhile on the second floor of the museum many art training programs were active for youngsters. Some of the groups were UpBring Dance, Music and Me, Musician General, Luminia Theater, classes that specialized in American Sign Language for toddlers, Animal safety classes and a slew of professionals who made their living serving NYC public schools as art professionals.
AC/DC Window is a kinetic sculpture in the second floor window of Micro Museum. It has a solar powered function and has run nearly continuously since it was first installed. There have been 6 configurations of the site and is a notable addition to the neighborhood. AC/DC Window is available for veiwing 24/7/365
For most of Kathleen Laziza's dance career she was choreographing works that involved many collaborators. These works were poetic abstractions. In the early 1990s Ms. Laziza created a series of solo performances that she could perform without involving the entire force of the Laziza Electrique Dance Co. These dances were performed at Brooklyn's Picnic House, Micro Museum, The Knitting Factory and other small venues open to performing artists in NYC.
Spontaneous Combustion began as live events before the artists of Micro Museum arriving in Brooklyn. These events were structured to highlight 2 videoart sections which were sandwiched with performing artists. Additionally, visual artists were invited to exhibit their works and Ms. Laziza prepared home cooked foods. The works were recorded on video and in 1993 they became the inaugural programming for Brooklyn Community Access Television. The museum contributed actively to BCAT until 2004. Now the collection is a part of the archives and from time to time have opportunities for public broadcasts or post-graduate studies.
Community Development and Cultural Tourism are the heart of Micro Museum's overall mission. When KIDS PRESS Director Ken Kerbs asked Micro Museum for assistance we were happy to collaborate. KIDS PRESS built strong student leadership, Micro Museum offered opportunities for that leadership. Together KIDS PRESS lobbied the US Congress, NYC City Council, Toy Manufacturers, Nickelodeon. They performed in Kathleen Laziza's "Weather Depending" at Prospect Park Boat House and were involved in other significant community development in the neighborhood as well as fund raising and publishing their remarkable magazine that featured student's writing, poems, photography, illustration and graphic skills.
Artist Kathleen Laziza is always fashion forward and wanted to blur lines between performance and sculpture with this series of 90 wearable art pieces known as SPRING FEVER. There have been many exhibits of the pieces over the years. In 2007 Brooklyn's Borough President purchased a jacket from the collection to give to outgoing President of the Brooklyn Botanic Gardens as a retirement gift. These pieces were worn at many public events for the museum. In 2013 Ms. Laziza organized 45 people to wear these pieces in the Easter Parade on 5th Ave in NYC as her public runway show. The event was photographed extensively by renown photographer Bill Cunningham and published in the NY Times Style Section.
Micro Museum was an art center that created programming for public events as well as for the artists collaborating with Founding Artists Kathleen and William Laziza. It was often typical for Ms. Laziza to prepare refreshments and always served with tea. Sometimes these afternoon tea parties surrounded big festivals at the museum like the International Not Still Art Festival, curated by Carol Goss. Other times these parties focused on resident dance company presentations: The Fertile Ground series, plus associate choreographers: Defacto Dance, Maxine Steinman, Patricia Hoffbauer, Juliette Valero and countless music, puppetry and poetry recitals.
Interdisciplinary dance company directed by Kathleen Laziza and her network of independent artists including long term collaborator William Laziza. This company was actively creating works that utilized moving projection, non-linear story telling and low-tech special effects. The core company members were Peter Honchaurk, Dale Walkonen, Chris Pender, Judy Trupin, Gabriel Bobek, Judy Fowler, Teresa Adams, Samantha Twford, Susanna Meledez, Jessica Desmond, Jen Torierro, Judy Morgan, Carol Mezzacappa and Craig Gabrian. Most of the work by LED Co. lives in video form.
A performance art work based on Samuel Coleridge’s “The Rime of the Ancient Mariner” created by Kathleen Laziza, William Laziza, Gabriel Bobek and Judy Fowler. A total mash-up of Superman mythology, Coleridge's foreboding lyricism, and pop music.
This dance work was designed to become a photo series. It was choreographed by Kathleen Laziza and performed by Gabriel Bobek and Judy Fowler. The dance was digitally recorded by William Laziza and enhanced with time lapse photography. The photo series "1/7" toured throughout the USA as a part of large digital photography crowd sourcing exhibit from 2010 - 2012.
Solar Powered Kinetic Sculpture, Positioned in the 2nd floor window at 123 Smith street. Created by the Lazizas. This sculpture is in constant motion, depending on the sunshine, usually from 10AM - dusk. Neighbors have always commented about how wonderful it makes them feel walking past our location. In 2016, the newest version is active 24/7. It features a LED light dispay.
A non-linear narrative theater work based on Kathleen and William Laziza’s worldwide travels in 1979. The 45 minute performance work uses dance, song, projection and spoken word. As a part of the piece William Laziza reads New Yorker essayist Jack Winter's brilliant "How I Met My Wife." published in 1994. Here it is: It had been a rough day, so when I walked into the party I was very chalant, despite my efforts to appear gruntled and consolate. I was furling my wieldy umbrella for the coat check when I saw her standing alone in a corner. She was a descript person, a woman in a state of total array. Her hair was kempt, her clothing shevelled, and she moved in a gainly way. I wanted desperately to meet her, but I knew I'd have to make bones about it since I was travelling cognito. Beknownst to me, the hostess, whom I could see both hide and hair of, was very proper, so it would be skin off my nose if anything bad happened. And even though I had only swerving loyalty to her, my manners couldn't be peccable. Only toward and heard-of behavior would do. Fortunately, the embarrassment that my maculate appearance might cause was evitable. There were two ways about it, but the chances that someone as flappable as I would be ept enough to become persona grata or a sung hero were slim. I was, after all, something to sneeze at, someone you could easily hold a candle to, someone who usually aroused bridled passion. So I decided not to risk it. But then, all at once, for some apparent reason, she looked in my direction and smiled in a way that I could make heads or tails of. I was plussed. It was concerting to see that she was communicado, and it nerved me that she was interested in a pareil like me, sight seen. Normally, I had a domitable spirit, but, being corrigible, I felt capacitated--as if this were something I was great shakes at--and forgot that I had succeeded in situations like this only a told number of times. So, after a terminable delay, I acted with mitigated gall and made my way through the ruly crowd with strong givings. Nevertheless, since this was all new hat to me and I had no time to prepare a promptu speech, I was petuous. Wanting to make only called-for remarks, I started talking about the hors d'oeuvres, trying to abuse her of the notion that I was sipid, and perhaps even bunk a few myths about myself. She responded well, and I was mayed that she considered me a savory character who was up to some good. She told me who she was. "What a perfect nomer," I said, advertently. The conversation become more and more choate, and we spoke at length to much avail. But I was defatigable, so I had to leave at a godly hour. I asked if she wanted to come with me. To my delight, she was committal. We left the party together and have been together ever since. I have given her my love, and she has requited it.
One of the solo dance works "Snow White" choreographed by Kathleen Laziza found it's way into public performances at various art galleries and non-traditional dance environments. This improvisational dance performance could be many lengths. For example it was 20 minutes at the Williamsburg Art and Historical Center and 3 hours at a Chelsea Art Collective's Opening Party.
Laziza Electrique Dance Company created this 30-minute work as inaugural video programming at the public access TV studios at Brooklyn Community Access TV. Performing: Gabriel Bobek, Samantha (Twyford) MacIvor, Judy Morgan, Jen (Torriero) Maslanka.
Musicians Mike MacIvor, John LaMacchia, Kenneth Schalk, Reginald Juste, and Tommy Cirillo teamed up with videoartist William Laziza in “Eye of the Needle” which was highlighted in the NY Times Millennium section published January 1, 2000 as an example of “Art of the Future.” See Press & Media on this website for more details.
This dance was created to the music of Bradford Reed and choreographed by Kathleen Laziza. Essentially it is a pas de duex for dueling slide projectors. This work was performed in nightclubs and alternative spaces in addition to Micro Museum for 10 years. Some featured performances were at the Knitting Factory, Context Hall, Southpaw, Williamsburg Art & Historic Center, and part of Bell Labs celebrations at Westbeth with Arts and Science Collaboration Inc. Pictured here are Carol Mezzacappa and Craig Gabrian.
This dance work was inspired by an American early modern dancer Loie Fuller. Performed alternately by Judy (Marriott) Fowler, Teresa Adams and Suzanne Melendez. Original music by Mio Morales and a sampling of Mussorgsky’s “Pictures in Exhibition.” The piece utilized projected imagery from William Laziza's "videokinesis" series. Pictured here is Teresa Adams.
This videodance by Laziza Electrique Dance Co is performed by Dale Walkonen, Peter Honchaurk and Kathleen Laziza. William Laziza designed the special video effect called "the edge" which is a featured component of the Laziza's collaborative works since their earliest days of production. Music is by Vanessa Twyford. To see Kathleen Laziza's videodances (including The Little Tickler) https://vimeo.com/showcase/6373880
The Lazizas became the first Cyberartists-in-Residence for Downtown Community Television in 2001. This residency was funded by the Rockefeller Foundation to highlight NYC cutting edge artists. The Lazizas choose to develop a new media tool called the Globecaster. Their residency’s final event was a live performance for Laziza Electrique Dance Co. with live videostreaming on cable, cyber and simulcast broadcasting from Micro Museum to DCTV and viewed by two live audiences in Sacramento CA and Lower Manhattan NYC. The project involved approximately 50 people including music by Ghosts of the Canal.
This mural painted by William Laziza was a part of the PEACE PROJECT initiated by Kathleen Laziza. A dove was placed within an abstract pattern on the exterior of the museum. The overall mixed components of this project were inspired by Yoko Ono. Another part of the project involved a sculptured bird where the audience could add paper feather to the bird after writing a peaceful wish.
Micro Museum invited artist LouJanJak to exhibit his visual art show Yogiyogini as the official kicked off in the new gallery space on the 1st floor of the location at 123 Smith Street. One interesting note: A&E filmed a gender role swapping program during this exhibition with renown performance artist Richard Move.
Micro Museum invited eclectic fine artist Diane Krumins to exhibit her outstanding series of surreal digital photographs and her imaginative, award winner film entitled “SUMMER LIGHT."
William Laziza has a long track history of collaborating with dozens of music, dance and video artists at Micro Museum. His solo presentation Heavy Light explored his devotion to sound responsive videoart works and the fun loving aspects of hands on technology. He is a vital part of Micro Museum's history of blending artistic disciplines to create modern works of art that makes viewers "artists" too.
Micro Museum was so grounded in the neighborhood that it was completely natural for them to team up with the South Brooklyn Local Development Corp prior to 2003 and celebrated in the streets of Boerum Hill. This street party evolved into Bastille Day on Smith Street. Before it became a commercial success for the neighboring restaurants this street party was called "POWER TO THE PEOPLE." It often featured THE BIG CHAIR and in 2003 Micro Museum hosted "The Main Squeeze". In subsequent years Micro Museum hosted other wonderful music acts as well as art exhibits and dance performances.
Micro Museum had an important role to play during the traumatic aftermath of 9/11. Many of our friends and neighbors suffered the loss of loved ones and NYC transit and economic systems were stalled. "Blossoms of Hope" was a community driven artful response to 9/11. It began in late 2001 spearheaded by neighbor Elizabeth Rose Daly. Micro Museum offered space and comfort to what would become 3 generations of needlepoint participants. The finished quilt was exhibited at Brooklyn Borough Hall, The local firehouse, 2 local public school, NY City Hall and Micro Museum.
Micro Museum hosted many thematic exhibitions and Women Sculptors who were working in stone was a top favorite for visiting students. In 2004 Micro Museum was hosting many art classes for people of all ages and abilities. At the height of our educational programming there were approximately 1,000 students studying here every month. The students who were here at Micro Museum used the 1st floor gallery as a waiting room for their various lessons. One remarkable child took the time to sketch each one of the sculptures presented by Susan Abraham, Christina Nalty, Wendy Brackman and Priscilla Stadler. This youngster was able to present them as a part of the audition for higher study.
The camaraderie that existed at Micro Museum was remarkable and collaborative fortitude of artists was inspirational. The show, simply called "Latino Artists" exhibited here in 2004 with painters: Enrique Flores-Galbis & Angel Cruz with sculptor Alfredo Cardenas. Together Micro Museum hosted an opening party that featured the choreographer Maxine Steinman's dance company as it performed several works on the 2nd floor.
Two of Brooklyn’s most original artists and Micro Museum's favorite teamed up for an exhibition that involved drawing, photography, music and dance. The music and dance component featured a resident dance company "Fertile Ground." The core members of Fertile Ground were Samantha MacIvor, Jessica Desmond, Jen Maslanka and Susanna Meledez.
It was a thrill to be hosting and celebrating their 20 years of sustained diverse cartooning in NYC. This cartoonist collective - INX Group - were actively presenting their works in every newspaper, magazine and print outlet in the nation. Orchestrated by friend to Micro Museum David Klein, the event featured an artist talk that was provocative and illuminating as the exhibiting artists were on the front lines of commerce and censorship. The collective is still active and have embraced digital media.
Micro Museum honored the Founding Artists for their 25th wedding anniversary with a year-long event punctuated with many live performances from several resident artists. One of the highlights of the year was a dinner for 85 people who were seated at small beautifully prepared tables throughout all floors of Micro Museum including the Laziza's personal apartment. Dinner was catered by Jason Llera who was famed for his mouthwatering empanadas. The Brooklyn Borough President attended and presented the Lazizas with a Proclamation that honored their remarkable community and family life together.
The Lazizas had an ongoing collaboration with acclaimed Brazilian percussionist Cyro Baptista. His world beat band BEAT THE DONKEY is a vibrant feast for the eyes and ears. Their act routinely showcases taps dancers, Balinese dance and music as well their infectious rhythm that keeps people dancing from start to finish. The artists of Micro Museum collaborated with Mr Baptista's band at Southpaw, Montclair High School and SOBs as well as a street fair as a part Bastille Day celebrations on Smith Street.
There were countless fond memories created along with this show "Circus Surreal" which was a curated event by Kathleen Laziza from Micro Museum and Juliette Pellitier from ReflectArts. Together they selected 40 artists from over 300 applications from across the USA. There were a half a dozen live performances including contortionist and gymnast, Tara Quinn, as well as a star appearance for Muffinhead and a spontaneous appearance of Burlesque performer Amber Ray. The audience was encouraged to vote on the “Best of Show” award and the winner would receive a solo presentation at Micro Museum. The honor went to painter Michael Santini. Several outstanding artists also won special acclaim and later presented new works at the museum.
When arrangements were being made for the larger exhibits at Micro Museum, there were frequently a week or two between the show that became available for the independent artists surrounding Micro Museum. OPEN WALLS was an opportunity for them to propose short-term exhibitions. Most of these shows were arranged for one day to two weeks. Pictured here is the work of photographer Kari Otero.
During the weeks surrounding Halloween Micro Museum was transformed into a Haunted Maze using many of the collection's interactive sculptures as the foundation for the exhibit. The Evil Laughing Clowns were born from this event. Neighborhood children were directed by Kathleen Laziza to frighten visitors through a number of actions including one exhibit where the visitor was instructed to put their hand into an empty TV set and while they did that someone unseen below them fiercely grabbed their ankles.
This videodance work syntheses many of the Laziza's signature lighting and video effects. Music by John LaMacchia, this 8 minute work is a solo for Kathleen Laziza and a live demonstration of William's Laziza video art instruments.
SPECTRUM: THE CHAKRA ELEMENT Seven independent shows were created at Micro Museum that featured a color of the rainbow. Each visual art show included several live performers including David Goldman who played the LUMIANO throughout the art open parties and live music, dance and improvisation on the 2nd floor of the museum including Micro Museum’s resident dance company Fertile Ground. The final presentation featured “best of show” works of art from each color exhibit as an artistic rainbow.
One of the problems with a name like MICRO MUSEUM is that people sometimes expect small dollhouse size objects instead of the digital imagery that is the bulk of the museum’s collection. This show was designed to address that misconception. No art works was permitted to be over 6 inches. It was wildly popular with numerous profiles in the press as well as a radio interview for Kathleen Laziza on Australian public radio. Pictured here is the art work of Larry Joseph
Expressing oneself through hand writing is becoming a lost art. Penmanship is no longer taught in schools and people less than a certain age cannot read it. This show explored the value of written text in our literate based culture. Inspired by the work of Cy Twombly and a nod to Kathleen Laziza's formative years studying calligraphy Vertical Penmanship, a part of the BIG IDEA series, found that the use of written language in a visual capacity is far from dead. Artists have a unique way of bridging old and new. Pictured here is the work of Darren Saravis.
The BIG IDEA series started with an open call extended to USA visual artists and local performing artists. One delightful memory was opening night for Animals in Your Kingdom, where an old lovable dog named Oscar roamed the 1st floor gallery. He walked along a row of chairs where people naturally petted him. At the end of the event there was a line of fine dog hair where Oscar clearly received the most physical attention along the chair line. The event featured live music by David Goldman on the museum’s Lumiano. Pictured here is Monika Malewska's art works.
This exhibition featured many striking works that were mostly disturbing. The two models for this image arrived to see themselves. The results of their visit was highly entertaining and people found themselves captivated by their charms. As was the custom for these events David Goldman played on the museum’s Lumiano. It was a lively occasion because the party ended in a sing along where the audience belted out show tunes encouraged by Mr. Goldman. Pictured here is the work of artist Johannes Kroemer.
A part of the BIG IDEAS series. The selected artists used elements of mathematics to produce their works of art. David Goldman played the museum’s Lumiano for the occasion. Pictured here is the work of Cheryl Brock.
The final exhibit in the BIG IDEAS series presented 27 pieces by 22 artists whose works spanned 12 exhibits at Micro Museum. The BEST OF SHOW artists included Cheryl Brock, Reet Das, Debra Friedkin, Azita Ganji, Bill Hamilton, Kathleen Jean Jacques, Marie Christine Katz, Charles Printz Kopelson, Johannes Kroemer, Kathleen Laziza, William Laziza, Ruth Lyons, Claire Marcus, Melissa McClain, Roberto Mendez, Ralph Mindicino, Giang Nguyen, Tiana Peterson, Kate L. Pollard, Elise Roedenbeck, Darren Saravis, Hisayasu Takashio. Pictured here is the work of Melissa McClain.
The event featured a special toast by the Founding Artists and original songs by Susan Hwang on the Accordion, Fredrix on guitar and DJ Dance Party by Vanessa Bley as a part of SPACE CAMP radio. Also making an appearance at Micro Museum was the esteemed performance artist Muffinhead. The Brooklyn Borough President's Office sent over a Proclamation that honored the artists of Micro Museum for their cultural tourism impact.
Many local artists and groups took to the small stage at the museum’s entrance. Highlights include: The Community Writers Group as a part of Writer's Walk on Smith street, Guitarist/Songwriter Fredrix Livendirect!!, John LaMacchia’s musical groups: Morn, The Crooked Man, Poet/Writer/Performer Pamela Sneed, Storyteller/Writer/Performer Jamie Leo, Musical guests Thor Rock, Choreographer Jessica Bonenfant, Composer/Musician Andy Cohen, Singer Krystal Clark and others. Pictured here is Fredrix Livendirect!!
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