Vik Muniz, ‘Memory Rendering of Man Stopping Tank in Beijing’, 1989-printed 1995, Phillips

Signature: Signed, titled 'Memory Rendering of Tiananmen Square', dated and numbered AP 1/1 in pencil on the verso. One from an edition of 3 plus 1 artist's proof.

Hope Photographs, The National Arts Club, New York, February-March 1997, and traveling to 9 other venues through 2005

George and Marks, eds., Hope Photographs, p. 97 (this print)
Capivara, Vik Muniz: Obra Completa 1987-2009, p. 119
Arena, Vik Muniz: Seeing is Believing, pp. 26, 47

Brent Sikkema Gallery, New York, 1995

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