Published by Charta/Sikkema Jenkins & Co.. Text by Eva Respini, Luc Sante, Vik Muniz.
When a cousin of mine told me his seven-year old could paint a Picasso, I told him probably, but he couldn't do the back, writes Brazilian conceptual artist Vik Muniz about his Verso project. The series consists of obsessively faithful three-dimensional trompe l'oeil reproductions--using period hardware in a 1:1 scale--of the backs of such iconic works as Picasso's "Les Demoiselles d'Avignon," van Gogh's "Starry Night" and Seurat's "La Grande Jatte," including every scratch, scribble, label, trace of tape and faded pencil notation found on the original. For six years, Muniz worked in partnership with the curatorial and conservation departments of New York's MOMA and Guggenheim museums, the Art Institute of Chicago and a team of craftsman, artists, forgers and technicians to realize this project. Verso also introduces texts by essayist Luc Sante and MOMA curator Eve Respini.
PUBLISHER CHARTA/SIKKEMA JENKINS & CO.
BOOK FORMAT Paperback, 8.5 x 9.5 in. / 76 pgs / 58 color / 4 bw.
PUBLISHING STATUS PUB DATE 9/30/2009 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2009 p. 83
PRODUCT DETAILS ISBN 9788881587230TRADE LIST PRICE: $34.95 CDN $40.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
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Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half of the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force. --Vik Muniz
An American artist of Brazilian origin, Vik Muniz stands out as one of the most articulate and innovative artists of his generation, equally at home working with images of chocolate sauce, spaghetti marinara, or the detritus of hole punchers. In doing so, he has carved out a unique niche within contemporary photography: one of trickster and philosopher as well as the creator of compelling, delightful images. Reflex: A Vik Muniz Primer is a privileged, guided tour of the contents of Muniz's pyrotechnic imagination, walking us through each of his major series. From Equivalents, his fluffy, sculpted cotton “clouds,” to his latest color work, Magazines, Muniz accompanies each series with in-depth writing that tickles our minds with amusing anecdotes detailing his inspiration for each; fascinates by revealing his methodology and working process; and enlightens by unveiling the thinking and historical influences behind each image.