Acrylic on canvas with leather and nickel plated brass fittings over wood.
17 x 17 x 14" (43.18 x 43.18 x 35.56 cm.)
2017
BRILLO 3 CENTS OFF (BLACK & BLUE)
Acrylic on canvas with leather and nickel plated brass fittings over wood.
13 x 16 x 11.5 in. (33 x 40.6 x 29.2 cm.)
2018
BRILLO (BLACK & BLUE)
Acrylic on canvas with leather and nickel plated brass fittings over wood.
17 x 17 x 14" (43.18 x 43.18 x 35.56 cm.)
2018
SMALL BOX (LITTLE BOY)
Acrylic on canvas with leather and brass fittings over wood.
13 x 16 x 11.5 in. (33 x 40.6 x 29.2 cm.)
2014-2016
LARGE BOX (FAT MAN)
Acrylic on canvas with leather and brass fittings over wood.
17 x 17 x 14" (43.18 x 43.18 x 35.56 cm.)
2014-2016
CONSTRUCTIVIST BRILLO
Acrylic on canvas with leather and brass fittings over wood.
17 x 17 x 14" (43.18 x 43.18 x 35.56 cm.)
2014
DEBASED BRILLO
Acrylic on canvas with leather and brass fittings over wood.
17 x 17 x 14" (43.18 x 43.18 x 35.56 cm.)
2014
DEBASED BRILLO
Acrylic on canvas with leather and brass fittings over wood.
17 x 17 x 14" (43.18 x 43.18 x 35.56 cm.)
2014
SMALL BOX
Acrylic on canvas with leather and brass fittings over wood.
15 x 12 x 10" (38.1 x 30.48 x 25.4 cm.)
2014
MONUMENT TO THE 3RD INTERNATIONAL (VUITTON DOUBLE BRILLO)
Enamel and leather on coated canvas over wood with brass fittings, unique.
34 x 17 x 14 inches overall
2010
STACKED
Enamel and leather on coated canvas over wood with brass fittings
61 x 19 x 24 in. (154.9 x 48.2 x 60.9 cm.) overall.
2008
KELLOGG'S VUITTON
Acrylic on canvas with leather and brass fittings over wood.
21 x 25 x 17 in. (53.3 x 63.5 x 43.1 cm.)
2009
Charles Lutz’s Louis Vuitton sculptures, drawing on Warhol’s box sculptures, interrogate themes of authenticity, value, and debasement in contemporary art. By repurposing the luxury brand’s monogram, Lutz critiques the commodification of both art and consumer culture, exposing the tensions between prestige and mass appeal. These works question how branding influences perceptions of value, destabilizing traditional hierarchies of authenticity. Through this lens, Lutz highlights the debasement of artistic and cultural value in a market driven by commercialism.