- 115
VIK MUNIZ (B. 1961) | La Bacchante, after Gustave Courbet (Pictures of Magazines 2), 2011
估價
20,000 - 30,000 USD
招標截止
描述
- Vik Muniz (b. 1961)
- La Bacchante, after Gustave Courbet (Pictures of Magazines 2), 2011
- Sheet: 40 by 48 7/8 in. (101.6 by 124.1 cm.); Framed: 42 1/2 by 53 3/8 in. (108 by 135.6 cm.)
- Executed in 2011, this work is artist's proof 2 from an edition of 6, plus 4 artist's proofs.
digital c-print, in artist's chosen frame; signed and dated '2011' on a label affixed to the reverse
來源
Sikkema Jenkins & Co. New York, NY
Acquired from the above by the present owner
Acquired from the above by the present owner
出版
Pedro Corrêa do Lago, et. al., 'Vik Muniz: Catálago Raisonné, 1987-2015, Tudo Até Agora,' Rio de Janeiro, 2016, p. 781, illustrated in color
Condition
This work is in excellent condition overall. There are no apparent condition issues. Please note that this work has not been inspected out of its frame. Framed in the artist's chosen frame under Plexiglas.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
拍品資料及來源
Brazilian photographer and multi-media artist Vik Muniz said in an interview with the New York Times that his goal was to “change the lives of people with the same materials they deal with every day,” (Vik Muniz in Carol Kino, ‘Where Art Meets Trash and Transforms Life,’ ‘The New York Times,’ 21 October 2010). In his Appropriation Art series, Muniz recreates well-known works of arts with common materials, such as chocolate, garbage, and caviar. He then photographs his collages before destroying them, saving once three-dimensional collages as a two-dimensional photograph. The repetition of highly established imagery using everyday materials tinkers with the illusion of grandeur and ultimately challenges how we see art.