SUZY KUNZ is an artist working in Photography. Her focus was Photography and Sculpture at Indiana University, and also pre-med at the University of Colorado where she received a BFA. She also has an MFA from The School of the Art Institute of Chicago where she studied Sculpture and Filmmaking. She has lived in Manhattan since 1986.

A traditionalist at heart, Suzy's Black &White portfolio is made up of silver gelatin prints. No photoshopped photos included. All prints are editioned

[caption id="attachment_8766" align="aligncenter" width="638"] Invented Frivolia, Suzy Kunz 2000[/caption]   [caption id="attachment_8773" align="aligncenter" width="652"] Morning Glories I, Suzy Kunz 2000[/caption]

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The print was one of the first examples in human history of a mass produced item. From humble beginnings over 3000 years ago, print technology has made it possible for hundreds, even millions of identical images to be produced from a single source. From early Chinese woodcuts to the modern machine press, the print has brought visual media to the masses. Andy Warhol was inspired by mass production, so much so that the process of reproduction became the focus of his art, both physically and conceptually. Warhol theorized that the most important, cultural significant items were those that were accessible to everyone thanks to the economy of mass production. “What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. [...] The President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke too.” Andy Warhol. In his 'Factory', Warhol would create copies of each artwork through the screen print - the original artwork essentially no different to the reproduction and no less valuable. The body of multiple prints were in fact the artwork, a piece made of numerous identical components. A friend now has a Flea Market print of a Warhol Campbell's Soup Can hanging in his living room. It may be a poster, but the image is still an exact copy of the real thing. The Campbell's Soup Can is the perfect example of an artwork that has been incessantly reproduced to the point that it has become a cultural icon. Reproducing the artwork in print hasn’t adversely affected the aura of the original series hanging in the MoMA, instead it has formed the basis of it's fame. The Campbell's Soup Can has long ceased to be famous because it is great - today it is great because it is famous.       ‘I should have just done the Campbell’s Soups and kept on doing them ... because everybody only does one great painting anyway.’ Andy Warhol  

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Throughout his work, Gonzalez-Torres (American, born Cuba. 1957–1996) questioned the notion of the unique art object, making series of works based on identical pairs (two clocks ticking side-by-side, two mirrors embedded in a wall) or finding inspiration in the possibilities of endless reproducibility (stacks of sheets as give-aways for visitors, piles of candy to be continually replenished). (MoMA) I had studied Gonzalez-Torres’ work at University and was fascinated by his approach to art making. It’s quite funny watching people unfamiliar with his work look on in horror as others remove pieces of the artwork and then walk out of the museum. What many people don't realize, and what makes Gonzalez-Torres' work so interesting, is that the pieces are designed to be touched and yes, taken home with you. Gonzalez-Torres wanted his work to be disseminated, to exist in unlimited, multiple places at the same time, and to be realized completely only through the participation of the viewer, which he described as “one enormous collaboration with the public,” in which the “pieces just disperse themselves like a virus that goes to many different places—homes, studios, shops, bathrooms, whatever.” FGT In 1992 critic Anne Umland imagined the future reception of his work, writing ‘a photograph promises the possibility of replication, of reemergence in a different time and under different historical circumstances, a moment when this poignant image may come to mean very different things.” I look forward to seeing the next iteration of this idea within painting and drawing! Reproducibility, collaboration, circulation and accessibility — we have reinterpreted Gonzalez Torres’ vision and incorporated his concepts into our practice at TWFineArt. We are playing with his ideas, reproducing the once unique, financially unattainable art object and in the process we aim to break down the gallery/museum experience. Great art can and should be for everyone – All for Art & Art for All.

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