(b. Lima, Peru, 1971)
Album IV (detail)
Photomontage in plastic laminate, 84 panels
45.7 x 30.5 cm each panel
Purchased with funds contributed by the Photography Committee and Manuel de Santaren
Solomon R. Guggenheim Museum, 2008.27
© Luis Jacob
Luis Jacob’s Album IV belongs to a series begun in 2000. Each album is constructed in similar form: hundreds of photographs clipped from books and magazines are arranged and mounted in plastic-laminate panels. The resulting image bank is then hung in a frieze-like display that weaves narrative threads in and among the panels. Jacob’s artistic intervention lies in the precise juxtaposition of the photographs, calculated to highlight the formal and thematic resonances that unite them. The images in Album IV refer to subjects such as family, education, failure, success, soiling, food, control and resistance, producing surprising connections between incongruous ideas.
Luis Jacob employs photography, painting, installation, performance, sculpture and collage in a conceptual practice that endlessly explores the act of looking. The same perspective guides his curatorial practice. In the “Album” series, he shapes networks of meaning that contribute to an understanding of the images. More broadly, his art evokes the power and dissidence that express themselves in material and visual culture. Jacob’s works are frequently exhibited in Canada and abroad, making him one of the best-known Canadian artists of his generation.
SOLOMON R. GUGGENHEIM MUSEUM
1071 Fifth Avenue
New York (New York), 10128
1 212 423-3500
These two panels from Album IV demonstrate the role of appropriated artworks in the construction of Luis Jacob’s Album series. For example, the left-hand panel includes a photo of a mask created by the Canadian artist Brian Jungen. Jacob treats reproductions of art the same way he treats the other photographs in Album IV, regardless of status (pictures of artworks, documentary, ethnographic and anonymous photos, press images). What count are the visual and thematic associations: in this case, the anonymity of the masks and made-up faces dialogues with the silencing suggested by the sewn-lips motif.