Vik Muniz, ‘Reversal Grey Marilyn’, 2003, Phillips

This work is accompanied by a certificate of authenticity provided by Nai Gallery.

Signature: signed, dated and numbered 'Vik Muniz 2003 1/5' on a label affixed to the reverse

Lisbon, Cultugest, Cara a Cara, 12 October - 28 December 2003 (another example exhibited)
Lausanne, Musée de l'Elysée, Je t'envisage: la disparition du portrait, 4 February - 30 May 2004 (another example exhibited)
London, Hayward Gallery, Making Faces: The Death of the Portrait, 24 June - 5 September 2004 (another example exhibited)

Vik Muniz and Pedro Corrêa do Lago, Vik Muniz: Complete Works, 1987-2009: Catalogue Raisonné, Rio de Janeiro, 2009, p. 309 (illustrated)

Nai Gallery, Rome,
Acquired from the above by the present owner

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