Eva Respini

"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.… (más)

recommended by: Petra X

This is the type of book I most enjoy after I’ve seen an exhibition and I read this cold, without really knowing anything about the artist. There are a couple excellent, essays and a short interview with John Waters, but the captions for each art piece don’t have the kind of extra information I like to read. While some of the works are shown so that their scale is obvious, and I did appreciate that, I don’t think they captured the power and feelings seeing the museum exhibit would. Seeing the exhibit first and then revisiting the art in the book would probably have felt more satisfying than just reading the book. Most of the art is not my cup of tea though, so if I’d seen the exhibit, this might not have been a book I’d have felt compelled to then read. It’s too narcissistic in my opinion, even though I understand the wanting to work mostly alone thing and know that’s why most of the photos are of the artist. Many of the pages’ art subject matter were so horrifying I just wanted to turn the page, as quickly as I could. But I have to admit the art was brilliant in a way as it gave me a lot to think about, and some of it, a relatively small amount, was enjoyable to view. I’m not sure how much I’d actually have a good time, but if a Cindy Sherman exhibit came to one of the museums where I keep a membership, and there was no additional charge, I’d probably go see it. I’d have to be in the right mood though. I actually know a couple young people who are artists and whose art (much of it photography) sort of reminds me of Sherman’s. I have to assume she’s been an influence on them. I’m going to ask. I’m a huge fan of art books, but I can’t say this is one of the many that’s brought me pleasure. I think I recommend this book for readers who are already fans of the artist or maybe those who often appreciate disturbing and/or unusual art that has the potential to make them feel and think. This wasn’t the right book for me at this time. 2 ½ stars… (más)