Vik Muniz, ‘Candle (from the Pictures of Wire series)’, Photographed in 1995 and printed in 1996, Phillips

Property from a Distinguished Private Collection
Guaranteed Property (see Conditions of Sale for further information)

Signature: signed, titled, numbered and dated ""CANDLE" 1996 VIK MUNIZ 5/5 FROM THE PICTURES OF WIRE SERIES" lower center

New York, International Center of Photography; Chicago, Museum of Contemporary Photography, Columbia College Chicago; Tuscon, Center for Creative Photography; Honolulu, The Contemporary Museum; Saratoga Springs, Tang Teaching Museum and Art Gallery; Recife, Museu de Arte Moderna, Fundação Joaquim Nabuco; Rio de Janeiro, Museu de Arte Moderna; New Orleans, Contemporary Arts Center, Vik Muniz: Seeing is Believing, 1998 - 2001, p. 80 (another example exhibited and illustrated)
Indianapolis Museum of Art, Vik Muniz, Feburary 15 - April 13, 2003, no. 4 (another example exhibited)

Pedro Corrêa do Lago (ed.), Vik Muniz: Obra Completa 1987 - 2009: Catálogo Raisonné, Rio de Janeiro, 2009, p. 180 (another example illustrated)
Pedro Corrêa do Lago (ed.), Vik Muniz: Catalogue Raisonné 1987 - 2015: Everything So Far (Tudo Até Agora), vol. 1, Rio de Janeiro, 2015, p. 217 (another example illustrated)

Rena Bransten Gallery, San Francisco
Acquired from the above by the present owner in 1998

About Vik Muniz

Photographer and mixed-media artist Vik Muniz is best known for repurposing everyday materials for intricate and heavily layered recreations of canonical artworks. Muniz works in a range of media, from trash to peanut butter and jelly, the latter used to recreate Andy Warhol’s famous Double Mona Lisa (1963) that was in turn an appropriation of Da Vinci’s original. Layered appropriation is a consistent theme in Muniz’s work: in 2008, he undertook a large-scale project in Brazil, photographing trash-pickers as figures from emblematic paintings, such as Jacques-Louis David’s Neoclassical Death of Marat, and then recreating the photographs in large-scale arrangements of trash. The project was documented in the 2010 film Waste Land in an attempt to raise awareness for urban poverty. Muniz explained the work as a “step away from the realm of fine art,” wanting instead to “change the lives of people with the same materials they deal with every day.”

Brazilian, b. 1961, São Paulo, Brazil, based in New York & Rio de Janeiro