Vik Muniz «Equivalents. Dürer's Praying Hands» 1993.
Equivalent Series, Dürer's Praying Hands, 1993.
«Stieglitz was definitely one of the most influential American artists. He spread himself thin but covered a lot of territory. He worked on many fronts and used many devices to help shape the artistic milieu of his time.»
«He singlehandedly introduced modern art to the American public. I usually use images from people I admire or find important in the context general culture. I wouldn't want to mock anyone, especially someone with STieglitz's mind and reputation. If you look at one of his Equivalents, you will get a glimpse of the ungraspable nature of sensations and the artificial ways in which meaning is fabricated. If you look at one of my Equivalents, you will see - depending on the way you choose to interpret it - either a cloud, a lump of cotton, or Durer's Praying Hands. The title Equivalents was choosen because these "clouds" had something to do with what Stieglitz was trying to say: that the objective of a photograph is not merely portrayal of a subject but the range of symbolic and emotional associations the formal treatment of a subject will bring to the viewer. He treated the question by pushing it toward amiguity. I decided to push it toward specificity.» ~ Excerpt of Vik Muniz and Charles Ashley Stainback interview - Seeing is Believing.
Equivalent Series, Snail, 1993.
Equivalent Series, Rowboat, 1993.
Equivalent Series, Kitty, 1993.
«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.
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