In 1961 the conceptual artist Piero Manzoni rattled the art world by canning his own feces and making them available for sale, pricing the cans by their weight in exchange for the current value of gold. The following year, in which the Hollywood star Marilyn Monroe dies, Andy Warhol screened the image of the starlet over painted canvases, including golden ones, immortalizing Monroe and establishing her image as one of the most recognized artworks in the world. In 1964, the cult classic film Goldfinger was released and became one of the most iconic James Bond films ever made. The movie unambiguously associated gold with power, glamour but also danger. In parallel, archeological gold was also finding its way into the culture of the masses: from 1961 to 1981 Tutankhamen Treasures and The Treasures of Tutankhamun toured North America and the western hemisphere for the first time, becoming some of the most attended museum exhibits to this day.
Pérez Art Museum Miami
1103 Biscayne Blvd. / +13053753000 / pamm.org Tue - Sun 10am to 6pm, Thu 10am to 9pm
Pérez Art Museum Miami's collection focuses on international art of the 20th and 21st. Please contact the museum for more information.
Monika Sosnowska (b. 1972) is best known for large, site-specific sculptures made of steel, concrete and other industrial materials. Though usually abstract, much of her work draws from the distinctive built environment of Warsaw, with its defunct or re-purposed Soviet-era buildings, its vast industrial zones and its reconstructions of historic neighborhoods destroyed during World War II. Sosnowska’s project for Pérez Art Museum Miami (PAMM) makes dramatic use of the double-height Project Gallery for which it was commissioned.
Consisting of over 1,100 pounds of bent steel, the sculpture references the skeletal structures that are used as kiosks in Warsaw’s informal marketplaces. Often welded together from scrap metal by the same individuals who use them to sell their goods, these structures embody the kind of spontaneous, street-level commercial activity that contributes to a given city’s economic vitality and dynamism, despite its ambivalent status with respect to the official financial system. Although this activity generally unfolds beneath the radar of metropolitan authorities, the material residue that it leaves behind often changes the urban landscape in significant ways. Sosnowska’s sculpture transposes these social forces into the gallery space, amplifying and transforming them into a unified and impactful aesthetic encounter.
This project is commissioned by Pérez Art Museum Miami (PAMM) and organized by PAMM Curator René Morales.
Additional support for PAMM’s Project Galleries provided by Jerome A. Yavitz Charitable Foundation.
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