For those visiting during Art Basel in Hong Kong (29–31 March 2019), the smell of fresh paint may still be in the air at the latest heritage conservation project, The Mills, which opened on 16 March to encompass the Centre for Heritage, Arts and Textiles (CHAT), joining the ranks with ex-prison complex Tai Kwun, along with Eaton HK—a retro...
Firenze Lai says that she knows her studio of a few hundred square feet intimately; from the textures of its surfaces to the way the breeze blows into the room. The spaces depicted in her paintings are equally intimate. When curators seem to be at a loss for words to discuss troubled times, fear of containment, and the feeling of being completely...
In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
The United Nations is aiming to shed light on global issues surrounding food safety by hosting its first ever art exhibit titled We Are What We Eat.
Vik Muniz is best known for his works made from everyday materials such as string, garbage, chocolate syrup and dirt. He engages in the referential potential of these surprising mediums by assembling works that incorporate their subject matter into their materials. In doing so, Muniz adds new dimensions to established notions of representation.
Muniz began his career in sculpture with playful works such as Clown Skull (1987), from his 'Relics' series, which depicts the realistic-looking skull of a clown, bulbous bone nose included. Eventually, however, he found photographic documentation of his sculptural work to be more compelling than the artworks themselves and gradually came to focus on photography as the exclusive final medium for all his pieces. His 1989 series 'The Best of LIFE' was inspired by photographs from the coffee table publication The Best of LIFE, a book he had owned but lost while moving house. Muniz drew the legendary images in the book memory—among them The Man on the Moon and Kiss at Times Square (both 1989)—then photographed the drawings and presented the photos as final works. In another series, titled 'Pictures of Clouds' (2001), the artist photographed a skywriter's clouds as they gradually disintegrated and disappeared.
Unlike fading clouds formations which are in danger of disappearing from memory, masterpieces such as Leonardo da Vinci's Mona Lisa and photographs of Marilyn Monroe and Marlon Brando are deeply embedded in popular consciousness. However, Muniz's depictions of these images rework the iconography in non-traditional mediums that match the content of the image itself. For example, his 2004 portrait of Marilyn Monroe, titled Marilyn Monroe (Pictures of Diamonds), is made of diamonds—a reference to her famous song 'Diamonds are a Girl's Best Friend'. In his 'Pictures of Dust' series (2001), Muniz replicates the works of various famous mid-century American artists—such as Donald Judd's Untitled (1965) and Richard Serra's Prop (1968)—in dust collected from the Whitney Museum of American Art in New York. Discussing the piece in his Joseph M Cohen Family Collection biography, Muniz said: 'Dust is pieces of hair and skin. I think people scratch their heads a lot in museums; that gets mixed with the residue from the artworks themselves. That's the ultimate bond between the museum visitor and the artwork'.
In the past decade, Muniz has extended his visual repertoire from contemporary culture to more personal encounters. In his series 'Pictures of Garbage' (2008), he photographed garbage pickers he met at an open-air dumpsite just outside Rio de Janeiro called Jardim Gramacho. However, he retains his interest in iconography by staging the pickers as the subjects of classical portraits, such as the French revolutionary leader Jean-Paul Marat from Jacques-Louis David's Death of Marat. Details of the images were accented with the garbage the models had scavenged. In the accompanying documentary film Waste Land (2010), directed by Lucy Walker, Muniz states that he aimed to 'change the lives of people with the same materials they deal with every day'. Indeed, due the critical acclaim and success of the documentary, the artist and the filmmakers have donated more than $300,000 to the pickers' community in Jardim Gramacho.
Muniz splits his time between Brooklyn and Rio de Janeiro.
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.