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Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.

Vik Muniz

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Vik Muniz
Age: 63
Born: 1961
Born: December 20
Artist
Drawer
Film Director
Land Artist
Painter
Photographer
Visual Artist
Writer
Sao Paulo
Vicente José de Oliveira Muniz
Vicente Jose de Oliveira Muniz
Longer
Freed
Century
Medium
Sense
Mediums
Truth
Digital
Great
Ghost
Retains
Way
Photography
Frees
Think
Painting
Haunt
Thinking
Coming
Nineteenth

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The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.
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When someone tells you it’s a grain of sand, there’s a moment where your reality falls apart and you have to reconstruct it. You have to step back and ask what the image is and what it means.
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Illusions as bad as mine make people aware of the fallacies of visual information and the pleasure to be derived from such fallacies.
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If you find an idea without form, please let me know because I would love to take a picture of it.
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It's not about fooling somebody, it's actually giving somebody a measure of their own belief: how much you want to be fooled. That's why we pay to go to magic shows and things like that.
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I'm not creating art that starts with politics or starts with ethics. I feel I am a conceptual artist because my art is more concerned with epistemology than ethics or politics or even aesthetics.
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I think there's a gradient that goes from science to art and magic is the middle ground. I think that we're all trying to understand and define the world around us but often it's experimental.
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I think pure light has something to do with actually seeing everything at once. It's kind of a nirvana of sorts.
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Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.
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The great challenge is how to make smart, intelligent art that can speak to everybody.
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Whenever I am tired of making photographs of drawings, I make drawings of photographs.
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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 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.
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In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.
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I'm a student of media and I've always been one. I'm fascinated by the way we make the world around us based on pictures and how can we improve our perception of this picture world.
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A lot of the time you keep looking for beauty, but it is already there. And if you look with a little bit more intention, you see it.
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My first reaction to finding Robert Smithson's Spiral Jetty in a book was, Wow, what a great photograph! I could not believe that someone had gone to so much trouble just to end up with a picture.
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I hate to say I'm a photographer, because I learned photography as I went along. But I also hate to say I'm a painter, a draftsman, even an artist. I think it's good when you're confused about what you are it means you haven't defined yourself as an artist yet.
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I think I'm an ambitious artist but you have to understand the measure of your influence on people. You're not going to change people's lives with your art. What you do is you give them a little pat so that you change the course of the direction that they're going.
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