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Verso (Nighthawks)

© Vik Muniz / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

© Vik Muniz / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

© Vik Muniz / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

Vik Muniz

American, born Brazil, 1961

Verso (Nighthawks), 2008

mixed media

Edition: 1/3

each block: 1 3/4 x 6 x 4 inches (4.45 x 15.24 x 10.16 cm); support with 2 blocks: 44 1/8 x 70 3/8 x 2 1/8 inches (112.08 x 178.75 x 5.4 cm)

Collection Albright-Knox Art Gallery, Buffalo, New York

Charles W. Goodyear Fund, by exchange and George B. and Jenny R. Mathews Fund, by exchange, 2009

2009:9a-c

More Details

Inscriptions

object text / upper left, on label / NIGHT HAWKS / EDWARD HOPPER
object text / upper center left, on frame / #42.51 Box #3 - Cat #43

Class

Sculpture

Work Type

Sculpture (visual work)

This information may change due to ongoing research. Glossary of Terms

Vik Muniz is a rare contemporary practitioner of trompe l’oeil: a style of painting popularized in the seventeenth century in which objects are depicted with photographically realistic detail. Within Muniz's artistic practice, trompe l’oeil offers an opportunity  to comment mischievously on artistic traditions and to challenge existing notions of art history. Verso (Nighthawks) hails from a series of works in which Muniz exactly replicated the backs of famous paintings found in major museum collections. Over the course of six years, Muniz worked with staff members of The Art Institute of Chicago, The Museum of Modern Art, and the Solomon R. Guggenheim Museum, and consulted with experienced forgers to create precise reproductions of the backs of signature works by Edward Hopper, Pablo Picasso, and Vincent van Gogh, among others. Here, Muniz reveals the passing of time as manifested through typical wear and tear and alterations made to the back—or verso—side of a painting. Because the work is placed on carpeted bumpers, mimicking those frequently used by museums during installation, viewers are led to anticipate the reveal of one of the most iconic paintings in American art history—an image that does not exist in Muniz’s work.

Label from DECADE: Contemporary Collecting 2002–2012, August 21, 2012–January 6, 2013

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