Vik Muniz Art

Reversal Grey Marilyn was created by Vik Muniz for his 'Pictures of Diamond Dust' series in 2003. The art is 55 x 49 inches and the framed size is 57.75 x 51.25 inches. There is a la...

Vik Muniz Paper Beads for Tanzania (Hand Signed by Vik Muniz), 2016 Color offset Lithograph (Hand signed) Boldly signed in black marker by Vik Muniz on the front. 36 × 24 inches Unfr...

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...

Vik Muniz Butterflies, after Odilon Redon, 2006 Signed and dated on affixed label Chromogenic print 50 x 40 inches Edition 3 of 6

This Vik Muniz photograph is offered by CLAMP in New York City. Edition of 70.

Vik Muñiz "Louis Brooks" 2005 Picture of diamonds ( Digital C-Print: A photographic print made from a color negative or slide). Ed. 3 of 10 40 x 30 in Signed, named, and numbered on...

Vik Muniz Memory Rendering of John John (Vik Muniz The Best of Life): 'John John' is a selection from Vik Muniz's The Best of LIFE series from 1989. Muniz's...

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...

Jetliner 2014 Signed in black ink, verso Archival pigment print 6 x 6 inches (15.24 x 15.24 cm), sheet 3.5 x 5.5 inches (8.9 x 14 cm), image This work is offered by ClampArt in N...

Medusa Marinara (for Peter Norton Family Christmas Project) 1999 Stamped, verso Ceramic plate (Made by Bernardaud in Limoges, France) 12.5 x 12.5 inche...

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...

Framed: 56.5 x 43 inches Edition of 6 From the series "Pictures of Pigment" Signed and dated on affixed label