Vik Muniz, ‘The White Rose (from the Monad Series)’, 2003, Phillips

Signature: signed and dated "Vik Muniz 2003" on a label affixed to the reverse

Sao Paulo, Galeria Fortes Vilaça, Trabalhos Monádicos e “Fotografias”, August 18 - September 13, 2003 (another example exhibited)

James Elkins, Moacir dos Anjos and Shelley Rice, Obra Incompleta: Vik Muniz, Rio de Janeiro, 2004, p. 288 (another example illustrated)
Lesley A. Martin, ed., Reflex: A Vik Muniz Primer, New York, 2005, p. 132 (another example illustrated)
Pedro Corrêa Do Lago, ed., Vik Muniz: Obra Completa 1987 - 2009, Rio de Janeiro, 2009, p. 501 (another example illustrated)

Sperone Westwater Gallery, New York
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