Vik Muniz

Cairo, Egypt

2015/2022

Key (from “Earthworks”) 2006 Signed and numbered, verso Chromogenic print (Edition of 100) 8 x 10 inches (20.3 x 25.4 cm) Contact gallery for price. This work is offered by Clam...

Archival pigment print Signed, titled, dated, and numbered, verso 20 x 24 inches (Edition of 10) 30 x 36 inches (Edition of 5) 40 x 48 inches (Edition of 5) This artwork is offer...

C-print collage Signed on label, verso This artwork is offered by ClampArt, located in New York City.

Mixed media on paper Signed This artwork is offered by ClampArt, located in New York City. “When two worlds collide, mayhem or genius can ensue. Consider the freestyle fellowship t...

Chromogenic print. Signed and dated "Vik Muniz 2007" on a label affixed to the reverse. From the edition of 6. Custom framed as pictured. The artwork is in excellent condition. All...

Tony Caramanico, famed Montauk-based surfer, created a life around surfing since the first day he picked up a board in 1963- a day he fondly recalls. Though his surfing has taken him...

Haystack, After Monet #3 was created by Vik Muniz for his 'Pictures of Color' series. The art is 47.5 x 67 inches and the framed size is 52.25 x 72.5 inches. There is a label on the verso with the artist's signature and edition number AP 1/5. From the total edition of 15 of which there were 10 Arabics and 5 APs. Framed in the original artist's frame. Literature: Pedro Corrêa do Lago, Vik Muniz: Obra Completa 1987-2009, Rio de Janeiro, 2009, pg.456. Vik Muniz — Haystack, After Monet #3 (from Pictures of Color) Vik Muniz’s Pictures of Color series stands at a pivotal moment in the evolution of visual culture. Conceived for the Venice Biennale, the series responds to the year when digital cameras first outsold film cameras worldwide, a symbolic tipping point in how images are made, shared, and believed. While exploring Venice’s long tradition of mosaic art, Muniz recognized a striking parallel between ancient mosaics and the emerging digital pixel: both construct images from countless discrete units, inviting viewers to experience perception as an assembly of parts. In Pictures of Color, Muniz replaces the pixel with a tactile, analog counterpart: Pantone color chips. Each work is composed of thousands of hand-placed squares, arranged with meticulous precision to form images that appear crisp and cohesive at a distance. As the viewer approaches, the illusion dissolves into grids of pure color. This oscillation between clarity and fragmentation, between image and code, lies at the heart of the series. Muniz reveals the mechanics behind seeing in the digital age, prompting the viewer to consider how images are built, translated, and trusted. Within this broader project, Muniz created a subseries dedicated to reinterpreting Monet’s iconic haystacks. Monet’s original paintings...

lacquered Chinese newspapers