Vik Muniz, ‘Raft of the Medusa (after Géricault, from Pictures of Chocolate)’, 1999, Sotheby's

From Generation to Generation: Important Photographs from the Ames Collection

Each flush-mounted to aluminum, one with a Sikkema Jenkins & Co., New York, label, signed, dated, and editioned 'AP 3/3' in ink, on the reverse, each framed, a Brent Sikkema Gallery label on the reverse, 1999 (2).

Each 40 1/8 by 29 3/4 in. (101.9 by 75.6 cm.)
Overall 40 1/8 by 60 in. (101.9 by 152.4 cm.)

Moacyr dos Anjos, James Elkins, and Shelley Rice, Vik Muniz: Incomplete Works (Rio de Janeiro, 2003), p. 184
Pedro Corrêa do Lago, ed., Vik Muniz, Obra Completa, 1987-2009, Catalogue Raisonné (Rio de Janeiro, 2009), p. 261

Brent Sikkema Gallery, New York, 2000

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