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Close-up detail: Davis Lisboa, "Mark Zuckerberg 1", 2021, oil on canvas, 15.7 H x 15.7 W x 1.6 in D (40 H x 40 W x 3.5 cm D)
Back view: Davis Lisboa, "Mark Zuckerberg 1", 2021, oil on canvas, 15.7 H x 15.7 W x 1.6 in D (40 H x 40 W x 3.5 cm D)
The artwork hanging on the wall: Davis Lisboa, "Mark Zuckerberg 1", 2021, oil on canvas, 15.7 H x 15.7 W x 1.6 in D (40 H x 40 W x 3.5 cm D)
Different sides: Davis Lisboa, "Mark Zuckerberg 1", 2021, oil on canvas, 15.7 H x 15.7 W x 1.6 in D (40 H x 40 W x 3.5 cm D)
Different sides: Davis Lisboa, "Mark Zuckerberg 1", 2021, oil on canvas, 15.7 H x 15.7 W x 1.6 in D (40 H x 40 W x 3.5 cm D)
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"Mark Zuckerberg 1"
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"Mark Zuckerberg 1" Painting

Davis Lisboa

Spain

Painting

Size: 15.7 W x 15.7 H x 1.6 D in

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About The Artwork

THE PAINTING SECTION OF THE DAVIS MUSEUM The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona Davis Lisboa, "Mark Zuckerberg 1", 2021, oil on canvas, 15.7 H x 15.7 W x 1.6 in D (40 H x 40 W x 3.5 cm D). What / who inspired the work? Conceptually, I was inspired by a photograph of the Facebook CEO and founder Mark Zuckerberg testifying during a U.S. House of Representatives Committee on Energy and Commerce hearing on Facebook on Capitol Hill in Washington, DC on the 11th. April 2018. The Facebook–Cambridge Analytica data scandal concerned the obtaining of the personal data of millions of Facebook users without their consent by British consulting firm Cambridge Analytica, predominantly to be used for political advertising. The data was collected through an app called "This Is Your Digital Life", developed by data scientist Aleksandr Kogan and his company Global Science Research in 2013. The app consisted of a series of questions to build psychological profiles on users, and collected the personal data of the users’ Facebook friends via Facebook's Open Graph platform. The app harvested the data of up to 87 million Facebook profiles. Cambridge Analytica used the data to provide analytical assistance to the 2016 presidential campaigns of Ted Cruz and Donald Trump. Cambridge Analytica was also widely accused of interfering with the Brexit referendum, although the official investigation recognised that the company was not involved "beyond some initial enquiries" and that "no significant breaches" actually took place. Information about the data misuse was disclosed in 2018 by Christopher Wylie, a former Cambridge Analytica employee, in interviews with The Guardian and The New York Times. In response, Facebook apologized for their role in the data harvesting and their CEO Mark Zuckerberg testified in front of Congress. In July 2019, it was announced that Facebook were to be fined $5 billion by the Federal Trade Commission due to its privacy violations. In October 2019, Facebook agreed to pay a £500,000 fine to the UK Information Commissioner's Office for exposing the data of its users to a "serious risk of harm". In May 2018, Cambridge Analytica filed for Chapter 7 bankruptcy. Other advertising agencies have been implementing various forms of psychological targeting for years and Facebook itself had patented a similar technology in 2012. Nevertheless, Cambridge Analytica’s openness about their methods and the caliber of their clients — including the Trump and the UK’s Vote Leave campaign — brought the challenges of psychological targeting that scholars have been warning against to public awareness. The scandal sparked an increased public interest in privacy and social media's influence on politics. The online movement #DeleteFacebook trended on Twitter. The Russo brothers are producing an upcoming film on the scandal, starring Paul Bettany. Source: https://en.wikipedia.org/wiki/Facebook%E2%80%93Cambridge_Analytica_data_scandal What do you hope your viewers think? I hope viewers understand that there is a narrative within art history that is about the artists who created their own museums. This narrative is constructed through Marcel Duchamp (Boîte-en-valise, 1936-1941), Robert Filliou (La galerie légitime, 1962-1963) and Marcel Broodthaers (Musée d'Art Moderne, Département des Aigles, 1968-1972) . Following this narrative, I decided to create the Davis Museum, The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona (2009-ongoing), which is, simultaneously, a readymade sculpture, a non-profit collective artistic project and at the same time, a cultural entity recognized by the Generalitat de Catalunya (Autonomous Community of Spain). Davis Museum Barcelona https://www.davismuseum.com Generalitat of Catalunya http://pect.cultura.gencat.cat/difusio/Fitxa?index=347&consulta=MCU0KzA4MDE5MyU%3D&codi=C10568&fbclid=IwAR2uhNxa7NSoGum5xBWsAkVJI_G1XW8eVGFZzc5F_G1XW8eVGFZzk5F_G1XW8eVGFZzk5F_G1XW8eVGFZzk5F_ Created symbolically in a ballot box and disseminated mainly through Facebook, the Davis Museum is also the smallest contemporary art museum in the world. This cultural entity has several sections and one of them is "The Paintings Section from Davis Museum". It is divided into portraits and still lifes. The portraits represent Marcel Duchamp, Robert Filliou, and Marcel Broodthaers; while still lifes represent the "Boîte-en-valise" (Box in a suitcase), the "Galerie légitime" (Legitimate Gallery) and the "Musée d'Art Moderne, Département des Aigles" (Museum of Modern Art, Department Aguilas). From 2021, I decided to add to the group of portraits the CEOs of technology companies that are linked to the operation of the Davis Museum: Steve Jobs, Larry Page, Sergey Brin and Mark Zuckerberg; at the same time I created a new group of landscape paintings, in which their respective companies are represented: Apple (1976), Google (1998) and Facebook (2004). Why did you choose the medium, the frame format and the color? I chose oil on canvas because I am interested in painting not only for its versatility as a medium, but also for its rich historical repository of images and ideas. Only the best materials have been used for this work: linen canvas, Old Holland oils and Blockx and Talens media. Since the Davis Museum is a cube, I chose to frame the paintings as square. I chose the gray color for the paintings from 2011 to 2016; then only blue for paintings from 2016 to 2018; and in full color for paintings from 2019 to the next. "The Paintings Section" is the only section of the Davis Museum where works of art are sold. Support the Davis Museum art project by purchasing this Saatchi Art painting now. How will your artwork be packaged for a move? Artwork will be guaranteed to be shipped in accordance with high security standards, so your shipment is as safe as possible while traveling from the artist's studio to your museum, gallery, hotel, business, or home. For this, your oil paintings on canvas will be sent unrolled, stretched on a wooden frame, flat, without frames and without any special assembly. The wrapped canvas packaging consists of: A cover of acid-free archival quality glassine paper Two sheets of foam boards A sealed heavy plastic bag (to protect against moisture) Two layers of bubble wrap and secure with tape Cardboard protectors at each corner of the oil painting Two other larger sheets of foam boards · A sturdy cardboard box marked "Fragile" The paintings section of the Davis Museum, the Mini-Museum of Contemporary Art Davis Lisbon in Barcelona in Public and Private Collections • Alejandro Vásquez Herrero Collection, Viladecans, Spain • Ashish Mistry Collection, Atlanta, USA. • Daniel Marcoux Collection, Montreal, Canada • Denise Siqueira Collection, São Paulo, Brazil • Francesc Torres Collection, Barcelona, ​​Spain • Geert De Kegel Collection, Zele, Belgium • Philip Henderson Collection, Atlanta, USA. • Soteris Argyrou Collection, Nicosia, Cyprus • The Taylor Smith Collection, Indianapolis, USA. • Yellowstone Club Collection, Big Sky, Montana, USA.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:15.7 W x 15.7 H x 1.6 D in

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My name is Davis Lisboa and I was born in São Paulo, Brazil (1965). I have studied Desenho de Comunicação at the ETE Carlos de Campos and Painting at the Centre d'Art i Disseny Escola Massana and at the Facultat de Belles Arts de la Universitat de Barcelona. Since 1982 I've been working as a storyboard artist creating storyboards for various advertising agencies in Brazil, Spain, Russia, England or the United States. In 1987 I moved to Barcelona, where I worked as a graphic illustrator in a design studio and two years later, I opened my own illustration and painting studio. In 2005 I began to hold exhibitions as an artistic, figurative and contemporary painter at art galleries, cultural centers and art museums, and in 2009, I created the Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona, a cultural entity recognized by the Generalitat de Catalunya, now, expanding my activity towards cultural management. I have participated in several exhibitions, including Museum Show at Arnolfini, Bristol, England; Eleven: The John Erickson Museum of Art (JEMA) 10 Year Retrospective at The Harn Museum of Art, Gainesville, USA and at the Galería Bob Rauschenberg, Fort Myers, USA; Remix - 10 years in the mix at the en la Spor Klübü, Berlin, Germany; Small, Unusual and Specialist Museums Survey at the CRATE Studio and Project Space, Margate, England; Incubarte at Centro del Carmen, Valencia, Spain; FluxFest 2019, Pride Mail Project and Big Ideas in Small Art at The Rose Shelton Gallery, Toronto, Canada; Aquí y Ahora 6 - Power, corruption & lies at the Galería Blanca Soto, Madrid, Spain; VI Biennale Internazionale dell'Arte Contemporanea di Firenze, Italy; Holland Art Fair, The Hague; La Secció de les Pintures del Davis Museum, at the Casa del LLibre, Barcelona, Spain; NeoLatinísiiimo Art Biennial at the City Lights Gallery, Bridgeport, Connecticut, USA; Mirades des del confinament, con Joan Fontcuberta, Festival Cruïlla, Òmnium Cultural, Igualada, España, among others.

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