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拍品專文
Executed in 2007, Milton Friedman is a large scale, encaustic rendering of the influential American economist Milton Friedman by José María Cano. Milton Friedman was the economic adviser to Republican U.S President Ronald Regan and received the 1976 Nobel Memorial Prize in Economic Sciences, for his research on consumption analysis, momentary history and theory. Cano is internationally acclaimed for his distinguished portraits of prominent figures from the financial world, The Wall Street 100 Series, which the present work is a part of.
Taking as its source clippings of text and small headcuts portraits of emissaries in the world of finance from the Wall Street Journal, this series has been extensively exhibited on an international stage including in the opening show at the Dox Centre for Contemporary Art, Prague, at the Pan Museum, Naples, in Moscow, London and at the Venice Biennale. Begun in 2004 before the Wall Street Crash in 2007, it is almost as if the portraits prefigure the consequences of the crash by providing a dry commentary on the image of true power that is born of, sustained and enriched by the mass media. Painstakingly reproducing these images on a monumental scale in the historical technique of encaustic, Canos portraits can be seen as a contemporary conclusion to an illustrious trajectory that began with the ancient Egyptians Fayum encaustic portraits of mummy faces. By using wax and an encaustic technique, the series acquire, and are characterised by their extraordinary depth and tactile qualities. As Hugo Rifkind observed in The Times: Canos pictures surface have a translucent depth so that they are more like sculptures than paintings (H. Rifkind, https://www.thetimes.co.uk/tto/arts/visualarts/article2423534.ece [accessed 10th September 2013]). Whilst journals and magazines are often considered to be obsolete the next day, here Cano preserves them in wax for posterity. Fittingly, The Wall Street 100 are frequently coined a wax mausoleum or an exclusive members club.
Taking as its source clippings of text and small headcuts portraits of emissaries in the world of finance from the Wall Street Journal, this series has been extensively exhibited on an international stage including in the opening show at the Dox Centre for Contemporary Art, Prague, at the Pan Museum, Naples, in Moscow, London and at the Venice Biennale. Begun in 2004 before the Wall Street Crash in 2007, it is almost as if the portraits prefigure the consequences of the crash by providing a dry commentary on the image of true power that is born of, sustained and enriched by the mass media. Painstakingly reproducing these images on a monumental scale in the historical technique of encaustic, Canos portraits can be seen as a contemporary conclusion to an illustrious trajectory that began with the ancient Egyptians Fayum encaustic portraits of mummy faces. By using wax and an encaustic technique, the series acquire, and are characterised by their extraordinary depth and tactile qualities. As Hugo Rifkind observed in The Times: Canos pictures surface have a translucent depth so that they are more like sculptures than paintings (H. Rifkind, https://www.thetimes.co.uk/tto/arts/visualarts/article2423534.ece [accessed 10th September 2013]). Whilst journals and magazines are often considered to be obsolete the next day, here Cano preserves them in wax for posterity. Fittingly, The Wall Street 100 are frequently coined a wax mausoleum or an exclusive members club.