x

Member Log-In

Don't have an account? Register here.

North America

Daniel Joseph Martinez
If Only God Had Invented Coca Cola Sooner! Or, The Death of My Pet Monkey

Composed of Gestures Contained in a Transitory Decor by Daniel Joseph Martinez is from a series of text-based posters collectively titled If Only God Had Invented Coca Cola Sooner! Or, The Death of My Pet Monkey, which delves into themes of consumerism, mortality, and the absurdities of modern life. Stating its title in bold red typeface, the poster underscores the notion that gestures are not fixed, but rather are influenced by the contexts in which they occur. Through this piece, Martinez challenges viewers to consider how much of what we perceive as personal expression is dictated by external circumstances. The installation’s ephemeral quality serves as a metaphor for the fleeting nature of life and the continuous construction and deconstruction of social and personal spaces, making it a profound commentary on the intersection of environment and identity. Martinez often utilizes provocative titles and imagery to challenge viewers’ perceptions. Combining visual elements with conceptual underpinnings—using the death of a pet monkey as a metaphor for lost innocence or the impact of consumer culture on natural life.. Martinez’s poster series invites viewers to reflect on the intersections of identity, impermanence, and the constructed nature of social environments, compelling them to question the underlying narratives that shape their understanding of the world.

Daniel Joseph Martinez’s provocative work challenges social conventions and explores themes of identity, politics, and cultural critique. Since emerging in the early 1980s, Martinez has been a significant figure in contemporary art, known for his interdisciplinary approach that spans performance, installation, photography, and text. Martinez employs every medium at his disposal to investigate raw aspects of American culture, dipping adeptly into derangements of body and brain; individual and society. In a work produced for the 1993 Whitney Biennial, he replaced the text on the museum’s admission ticket with the phrase “I Can’t Ever Imagine Wanting to Be White.” Visitors held the sentiment in their hands and kept it in their pockets. In The House America Built (2004), he re-created in exacting detail the cabin in which the Unabomber penned his manifesto. While Martinez’s concepts are tight and concise, they leave ample space to implicate the viewer. His work often confronts issues of race, gender, and the sociopolitical landscape, urging viewers to question their preconceived notions and the structures of power within society. Martinez's pieces are characterized by their bold, confrontational nature and incisive commentary, reflecting his commitment to addressing uncomfortable truths and advocating for social justice.