The Austin International Art Fair by West Chelsea Contemporary

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INDEX FOREWORD ................................................................................................... 0-1

FEATURED ARTISTS ..................................................................................... 2-3

ASIA ................................................................................................................. 4-21

AUSTRALIA .................................................................................................... 22-29

EUROPE ......................................................................................................... 30-69 DALI: THE ARGILLET COLLECTION................................................. 38-43

NORTH AMERICA ......................................................................................... 70-83

SOUTH AMERICA ......................................................................................... 84-87

ON THE WALL .............................................................................................. 88-89

FOREWORD West Chelsea Contemporary presents The Austin International Art Fair (AIAF), a large-scale immersive exhibition featuring works from over fifteen countries and thirty two artists. Curated by country, this show affords the viewer the opportunity to engage the global reach of contemporary art by exploring the ties that bind our international landscape. Specifically the theme of narrative is placed in focus: narrative through subject, narrative through medium, and narrative through stylistic movement. Each of these artists is telling a story either directly within the borders of their work, through their artistic practice and a piece’s creation, or by their relation to a broader artistic genre. Narrowing the exhibition to this central concept illuminates the intersection of seemingly unrelated artists and their work. Artists who would typically never share syntax, let alone wall space, are displayed together in order to elucidate new conclusions and prompt dynamic discussions. Through subject matter artists generate imaginative narratives that transport the viewer into new worlds. American neo-expressionist painter Hunt Slonem creates a realm of repeated birds, butterflies and bunnies. Creatures take on new life in Australian duo Gillie and Marc Schattner’s anthropomorphised characters of Dogman and Rabbitwoman. Local Austin artist Matthew Trujillo explores the face as a storytelling medium - his close-up, color blocking style captures expression, leaving the viewer to wonder about ‘who’ the work depicts. British duo The Connor Brothers draw on the nostalgia of film noir and snarky witticisms to create unexpected, relatable moments.

Through the medium of photography, narratives emerge during creation and set-up of the composition. Known for his documentation of wild horses, Canadian photographer Roberto Dutesco seeks to bring their beauty to new audiences while fellow Canadian fashion photographer Rapheal Mazzucco reveals figures and forms under layers of resin and paint. Brazilian artist Vik Muniz recreates masterworks with inventive materials in seemingly impossible ways while Italian photographer Massimo Vitali explores populated landscapes from a distance. Represented British artist Gary James McQueen creates the surreal through the lenticular technique, drawing inspiration from his tutelage under his uncle, Alexander McQueen. Through association with artistic movements, works of art connect to overarching narratives that have been identified and established by art critics and historians. Synonymous with surrealism, French surrealist Salvador Dalí’s oeuvre both shocked viewers with its exploration of the psyche and paved the way for future artists. Continuing in this tradition, Australian born, French neosurrealist Gil Bruvel works across multiple disciplines and media. Also Australian, photographer Vee Speers captures a surreal dystopia while investigating our youth-obsessed society. Cultural movements within a collectivist society are explored through contemporary Chinese art. Artists such as Zhang Xiaogang and Yue Minjun question the status of the individual while Liu Bolin paints himself into sites of historical contention. Neo-pop masters Takashi Murakami and Yoshitomo Nara engage the tradition of manga and the Superflat movement. The story-telling avenues of subject, medium, and movement serve to show that this unifying theme connects us all through a shared international narrative. West Chelsea Contemporary invites the viewer to journey across borders and discover different means of expression, story telling, and narrative.

FEATURED ARTISTS The Connor Brothers

Roberto Dutesco

Gil Bruvel

Kate Garner

Edward Burtynsky

Claude Gassian

Maurizio Cattelan

Damien Hirst

The Love Child

Liu Bolin

Sofia Cianciulli

Raphael Mazzucco

Salvador Dalí

Gary James McQueen

Peter Doig

Vik Muniz

Takashi Miurakami

Victor Vasarely

Yoshitomo Nara

Antoine Verglas

Lyora Pissarro

Albert Watson

Gerhard Richter

Zao Wou-ki

Gillie & Marc Schattner

Rimi Yang

Mila Sketch

Russell Young

Hunt Slonem

Zhang Xiaogang

Matthew Trujjllo

Zhong Biao

ASIA

LIU Bolin Chinese, b.1973

Claiming, “I put my thinking of the whole of society and my view of the entire world into my artworks,” Liu Bolin produces sculptures, installations, paintings, and photographs in which he critiques global societies. Though he has traveled to cities like New York and Paris for his work, he focuses principally on his native China, characterized by rampant development and consumerism. Among his best-known projects is his “Hiding in the City” series (begun 2005). Eschewing Photoshop, Liu stands in front of iconic cultural, historical, and commercial sites, camouflages himself to blend (almost) seamlessly into his surroundings, and photographs himself. The resulting images show him dissolved into shelves of junk food or the Great Wall—a Taoist vision of oneness with the world, and a warning of contemporary society’s consumptive power.

Liu Bolin Dragon Series Panel 1 of 9, 2010 Archival Pigment Print 25 x 31.50 in

MURAKAMI, Takashi Japanese, b. 1962

One of the most acclaimed artists to emerge from postwar Asia, Takashi Murakami—“the Warhol of Japan”—is known for his contemporary Pop synthesis of fine art and popular culture, particularly his use of a boldly graphic and colorful anime and manga cartoon style. Murakami became famous in the 1990s for his “Superflat” theory and for organizing the paradigmatic exhibition of that title, which linked the origins of contemporary Japanese visual culture to historical Japanese art. His output includes paintings, sculptures, drawings, animations, and collaborations with brands such as Louis Vuitton. “Japanese people accept that art and commerce will be blended; and in fact, they are surprised by the rigid and pretentious Western hierarchy of “high art’,” Murakami says. “In the West, it certainly is dangerous to blend the two because people will throw all sorts of stones. But that’s okay—I’m ready with my hard hat.”

Takashi Murakami Jellyfish Eyes - Black 4 (181/300), 2004 Offset lithograph printed in colors both on smooth wove paper 19.68 x 19.68 in

Takashi Murakami Jellyfish Eyes - White 5 (18/300), 2006 Offset lithograph printed in colors both on smooth wove paper 19.68 x 19.68 in

NARA, Yoshitomo Japanese, b. 1959

Influenced by elements of popular culture such as anime, manga, Walt Disney cartoons, and punk rock, Yoshitomo Nara creates paintings, sculptures, and drawings of adorable-yetsinister childlike characters. Painted with simple bold lines, primary colors, and set against empty backgrounds, these small children and animals often share the canvas with text, knives, plants, and cardboard boxes, among other recurring elements. As one of the fathers and central figures of the Japanese neo-Pop movement, Nara’s work expresses the struggle to find an identity fractured by war, rapid modernization, and an omnipresent visual culture. Nara’s sculptures, made primarily from fiberglass, and his drawings on postcards, envelopes, and scraps of paper, further this exploration using the same elegance of line and simple palette as his paintings.

Yoshitomo Nara Peace Flag (75/100), 2001 Screenprint in colors on cotton 39.40 x 40.50 in

YANG, Rimi Korean

Born and raised in Osaka, Japan, Yang moved to the United States to study art, receiving her degrees from California State University and Los Angeles Academy of Figurative Art. Yang is known for her intense enthusiasm for vibrant color that manifests in both her figurative and abstract painting. Her artwork aims to celebrate the chaotic emotional duality of life. Yang’s paintings are instinctive, intuitive, balancing acts of contrasts as she aims to celebrate the chaotic emotional duality of life. Yang has exhibited extensively in the United States, Denmark, Germany, China, Sweden, Ireland, and the United Kingdom.

Rimi Yang Dark Night, 2011 Mixed media on wood panel 30 x 30 in

Rimi Yang Red Vine, 2017 Mixed media on wood panel 14 x 14 in

YUE

Chinese, b. 1962

Minjun

In his oil paintings, Yue Minjun often inserts himself in iconic moments in art history, painting exaggerated self-portrait figures in candy colors. The figures bear wide smiles with gaping mouths as they enact poses from the works of Caravaggio and other artists from the Western canon. Transforming himself into an icon, the artist has said, “was not meant as a self-portrait in its traditional sense, but something more like a movie star acting in different roles.” Surrealism was an early influence on Yue, who shot to the top of an explosive Chinese contemporary scene as a member of the Cynical Realist movement, his serious political criticism and social commentary hidden behind the mask of his smiling faces. In another series, Yue turned his practice on its head, recreating famous Western and Chinese socialist paintings as empty settings with their subjects removed.

Yue Minjun Untitled (from The Giants of Contemporary Chinese Art Portfolio) (17/99), 2005 Lithograph 21.90 x 29.40 in

ZAO Wou-ki Chinese-French, 1921–2013

A master of postwar art and the highest-selling Chinese painter of his generation, Zao Wou-ki applied Modernist artmaking techniques to traditional Chinese literati painting. Zao moved to Paris in 1948, rejected his Chinese heritage, and immediately began painting in the style of Paul Klee, whose own style was influenced by Chinese landscape painting. By 1954, Zao had developed a unique style that was marked by contrasting colors and lyrical abstraction and that merged Chinese art, as viewed through the lens of European abstraction, with traditional Chinese landscapes. Zao remained wary of objectively Chinese-influenced art and avoided using ink for much of his career, preferring to work with oil paints in a calligraphic style. Like traditional Chinese landscape painting, Zao’s paintings function as fragments of a larger scene, possessing fluidity, transparency, and a graceful luminosity representative of the artist’s interior energies.

Zao Wou-ki Sans Titre (9/15), 1956 Lithograph 16.25 x 19.25 in - Sans Titre is an example of Zao Wou-ki's fascination with Shangdynasty oracle bone script — the earliest known form of Chinese writing, dating as far back as 1500 BC. In the 1950s, Zao created works featuring simple figures evocative of petroglyphs, expressing his interest in capturing the fundamental essence of forms. - Combining the gestural movements of traditional calligraphy with the compositional structure of abstract painting, Zao’s works of the late 1950s represent a transitional phase between the early oracle-bone style and his more energetic style of the 1960s. - Zao Wou-ki stopped naming his works in the 1950s in order to avoid ascribing overt visual associations. 17

ZHANG Xiaogang Chinese, b. 1958

Relying on memory to recreate a highly personal version of his country’s history, Zhang Xiaogang makes art that is as much about himself as it is about China’s past. The grim imaginary families in his “Bloodlines: The Big Family” paintings of the 1990s and his 2005–06 series of grisaille portraits in oil reveal countless narratives about the aspirations and failures of the Cultural Revolution as well as Zhang’s own emotions. Like the blank visages of the individuals in these paintings, Zhang’s brass and concrete sculptures of figures, as well as implements used for recording history (such as fountain pens, notebooks, and light bulbs, all 2009), appear compressed and distorted by memory, age, and some unknown force.

Zhang Xiaogang Untitled, from Bloodline: Big Family (17/68), 2007 Lithograph in colors on Arches paper 36.50 x 51.50 in

- This piece is part of of Zhang Xiaogang's seminal and era-defining series Bloodline: Big Family. Inspired by family portraits from the Chinese Cultural Revolution, the artist's surreal works engage with concepts of identity within the Eastern culture of collectivism. Using a muted, greyscale palette, Xiaogang depicts a series of figures whose somber gazes are interrupted only by thin red bloodlines intimating familial links, as well as occasional pale splotches of color resembling birthmarks. - The artist was inspired to create his widely celebrated Bloodline series after discoering an album of his family's old photographs in the late 1980s. - Zhang Xiaogang reached his auction record high of $12.1 million for a piece from the Bloodline series in 2014. 19

ZHONG Biao Chinese, b. 1968

Zhong Biao’s vivid, colorful paintings represent the experience of living through China’s rapid evolution from isolationism to an urbanized modern state. He works primarily with acrylic on raw canvas, blending realistic figures with surrealistic objects and abstract gestures. Zhong derives the dreamlike quality of his work from the multitude of unsettling juxtapositions of old and new in contemporary China. In Welcome, part of his 2007 series “American Debut”, he depicts children in 1960s Cultural Revolution-era garb, Han Dynasty terracotta figurines, beauty pageant imagery, and English language banners. Widely considered one of China’s most significant and recognizable contemporary artists, Zhong captures the intense simultaneity of everyday experience, layering dozens of conflicting images and deploying negative space and blank swaths of the canvas to complicate their relationships to each other, spatial and otherwise.

Zhong Biao A Sudden Glance, 2006 Acrylic and charcoal on canvas 50.75 x 37.75 in

- Zhong Biao’s paintings depict cultural symbols and human figures that seem to defy time and space. They are infused with Eastern and Western imagery, as well as historical and modern aspects, that all coexist in his "fantasy-scapes," reflecting the reality of life in modernday China. Seen in this work, A Sudden Glance, the artist paints vibrant figures in color set against stark black and white backgrounds in swirling, apocalyptic compositions. - His work is in public collections including Guangdong Museum of Art, Guangzhou, China; Shanghai Art Museum, Shanghai, China; Singapore Art Museum, Singapore and Gwangju Museum of Art, Gwangju, South Korea.

AUSTRALIA

BRUVEL, Gil Australian, b.1959

Gil Bruvel’s artistic journey began early on in his life as the son of a renowned cabinetmaker. Growing in both age and skill, Bruvel focused on his desire to express himself and his own experiences. Bruvel’s creative intuition is advanced with a combination of modern and classical techniques that give his art features of striking precision. With his vast understanding of fine art, Bruvel represents his unique style through a wide variety of mediums. Creating expressive form within multiple dimensions, Bruvel’s artwork is explorational, consistently evolving with the artist as he reimagines the world around him. Gil Bruvel was born in Australia, but raised in the South of France. He currently resides in Wimberley, Texas. Represented by a host of galleries worldwide, Bruvel exhibits extensively and is the recipient of numerous awards.

Gil Bruvel Mask #64, 2021 Wood and paint 17 x 17 x 9 in

Gil Bruvel At Night Wood and Paint 22 x 22.25 x 19 in

SCHATTNER, Gillie & Marc Australian, b. 1965, 1961

As husband and wife, Gillie and Marc are Australian contemporary artists who collaborate to create art as one, applying the iconic imagery of the dog/human hybrid to celebrate the powerful spiritual relationship that exists between man and animal. Gillie and Marc reference their own remarkable love story in their works, perpetuating a pursuit of happiness and encouraging us to challenge the status quo and the perceived safety of societal convention. Gillie and Marc’s unparalleled love is the cornerstone of what they are and of what they create. Gillie and Marc first met in Hong Kong. She was a nurse from England and he was a boy from the ‘burbs’ of Melbourne. Instantly they realized they’d found their soulmate, someone to start a journey encompassing their mutual love for art and adventure. Seven days later they were married in the foothills of Mount Everest. With a 20 year history of collaboration, Gillie and Marc’s paintings and sculptures have received acclaim worldwide and are held in collections both nationally and internationally.

Gillie and Marc Schattner They were so much in love, 2019 Acrylic and gold leaf on canvas 70.90 x 59 in

SPEERS, Vee Australian, b. 1962

For over two decades, Australian French artist Vee Speers has established herself in the art world with her unforgettable portraits. Her carefully choreographed images are painterly and ethereal, with a visual and metaphorical ambiguity which challenges established narratives. Her work has been exhibited in museums, galleries, art fairs and festivals around the world, and been published in features and on covers of more than 60 international magazines, with 3 sold-out monographs of her work. Her photographs have been acquired by Sir Elton John Collection, Hoffman Collection U.S., Carter Potash Collection, Morten Viskum Collection, and Museum of Fine Arts Houston, among others.

Vee Speers Immortal #2, Camille (4/8), 2010 Chromogenic print (c-print) 34.50 x 26 in

EUROPE

CATTELAN, Maurizio Italian, b. 1960

Nothing is sacred to Maurizio Cattelan, the art world’s resident jokester who has been variously amusing and horrifying viewers since the early 1990s. For his 2012 retrospective at the Guggenheim, “All,” Cattelan hung the full range of his iconoclastic sculptures from the center of the museum’s sanctified rotunda—including waxworks of a miniature Hitler, Pope John Paul II struck down by lightning, JFK in a coffin, and the artist himself hung by his neck, accompanied by several of his trademark taxidermies, including an ostrich burying its head, a squirrel who’s just committed suicide, and Novecento, the dangling horse that is perhaps his most career-defining work. “My aim is to be as open and as incomprehensible as possible,” he says. “There has to be a perfect balance between open and shut.” A prolific curator and writer outside of his artistic practice, Cattelan is seen by many as one of Duchamp’s greatest contemporary heirs, enacting morbidly humorous transformations on objects and history alike.

Maurizio Cattelan

The 1:6 Scale Wrong Gallery (16/2500), 2006 Wood, brass, steel, aluminium, resin, plastic, glass, and electric lighting 18.25 x 11.50 x 6.75 in

CIANCIULLI, Sofia

Italian, b.1993

Sofia Cianciulli is a multi-disciplinary body artist from Florence, Italy. Cianciulli grew up surrounded by Renaissance art history’s sexual connotations, and later was influenced by the individualism and diversity of New York feminism. After completing her MA in Fine Art and Central Saint Martins, Cianciulli was shortlisted for The Ingram Prize. Cianciulli combines painting, performance, digital media, and augmented reality to consider the female body in the postfeminist media age. Her work reflects upon the entangled and co-dependent nature of millennials and the internet, responding with absolute transparency to modern narrative conventions that are an inextricable part of her reality.

Sofia Cianciulli Digital Feelings I (1/50) Digital Print on Canson rag photographique 310g Epson 46.90 x 33.10 in

THE CONNOR BROTHERS British, b. 1968

The Connor Brothers are known for their paintings and prints featuring vintage pin-up beauties and Old Hollywood starlets in seductive poses, paired with captions that exude a dry sense of humor. The Connor Brothers—a pseudonym for the British artists Mike Snelle and James Golding—initially retained anonymity under their fictional guise. They posed as fictional twin brothers Franklyn and Brendan Connor, who had escaped from a California cult (called “The Family”) by running away to Brooklyn at age 16 to become artists. Today, Snelling and Golding have shed their guise, and align their work with social causes such as the European refugee crisis.

The Connor Brothers Tell Him I Was Too Fucking Busy - Or Vice Versa, 2019 Giclée, screenprint, acrylic and oil paint and varnish on paper 58.27 x 36.60 in

The Connor Brothers I Don't Want to Go to Heaven, None of My Friends are There, 2019 Giclée, screenprint, acrylic and oil paint and varnish on paper 55 x 36 in

DALI

THE ARGILLET COLLECTION

The Argillet Collection is a tribute to the work of Pierre Argillet, an extraordinary publisher of the Dada and Surrealist groups. Now overseen by his daughter Christine Argillet, West Chelsea Contemporary is proud to present over two dozen works by the master of surrealism Salvador Dali. This collection reflects the fascinating collaboration between Pierre Argillet and Salvador Dali that began in 1934 and lasted more than fifty years. Argillet commissioned Dali to illustrate the Greek Mythology, the Hippies, poems by Ronsard, Apollinaire, Mao Tse Tung, the “Venus in fur” by Sacher Masoch, and the “Faust” of Goethe. In Christine Argillet’s own words “[Pierre Argillet] began as a journalist with a true passion for Surrealism. His relationship with Dali was as sincere as it was passionate. They had long discussions together on the art in process and on literary topics that Dali would then illustrate. Dali was a man who saw the world as one in which everything was linked. That view of the world is evident in each and every piece of his art, for him it was never a progression of the idea that all things have a shared link...it was the common denominator...Dali’s philosophy...if you will.” The Pierre Argillet Collection demonstrates high standards of quality and the impassioned collaboration between an artist and his publisher. This ensemble of works has appeared in the best-known museums in the world, including: Musée Rotterdam 1971; Kunsthaus, Zürich and Staatsgalerie, Stuttgart, 1989; and the Hiroshima Prefectural Museum of Art, Japan, 1990. This collection's permanent home is at the Museum of Surrealism in Melun, France and the Dali Museum in Figueras, Spain. 38

DALI, Salvador Spanish, 1904–1989

Salvador Dalí was a leading proponent of Surrealism, the 20century avant-garde movement that sought to release the creative potential of the unconscious through strange, dream-like imagery. “Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision,” he said. Dalí is specially credited with the innovation of “paranoia-criticism,” a philosophy of art making he defined as “irrational understanding based on the interpretive-critical association of delirious phenomena.” In addition to meticulously painting fantastic compositions, such as The Accommodations of Desire (1929) and the melting clocks in his famed The Persistence of Memory (1931), Dalí was a prolific writer and early filmmaker, and cultivated an eccentric public persona with his flamboyant mustache, pet ocelot, and outlandish behavior and quips.

Salvador Dalí Marguerite (55/145), 1968 Hand Colored Etching 15 x 11 in - Marguerite is a Salvador Dali etching from the artist's 21 piece Faust series, where the artist illustrated La Nuit de Walpurgis of Faust, part one of the tragic play by Johann Wolfgang von Goethe. - In the “Walpurgis Night”, brilliantly illustrated by Dali, the various scenes appear within a magic circle, in a chiaroscuro whose acme is most likely the stunning portrait of “Faust Lisant”, evocative of Rembrandt’s etchings. Alchemical signs, formed by Dali’s inverted signature, add an esoteric dimension to this exceptional interpretation of Goethe’s “Faust”. - In this series, Dali used rubies and diamonds as engraving tools resulting in an incomparable delicacy to the design. Many consider the 1960’s the “Golden Age” of Dalí’s prints, a decade that saw some of the most brilliant works to be produced by the artist. 40

Salvador Dalí Corridor Of Katmandu / Hippies Series (88/100), 1969 hand colored drypoint 25.75 x 19.75 in - In 1969 Dali created a series of 11 drypoint etchings with hand coloring entitled Les Hippies, from which this print is a part. The inspiration for this suite came from photographs taken in India by his longtime friend and publisher, Pierre Argillet. The etchings reveal the superb, spontaneous and consummate technique of the artist at the peak of his maturity. Outlandish, surrealist characters or situations appear in these 11 images through intricate whirls and golden halos. - Christine Argillet describes why the Hippies series is some of her favorite works: "My favorite pieces are those where Dali used unusual tools or broke new ground, like the Hippies series. Dali placed different time periods and places together....Dali wanted to put a link in between the various cultures of the world, and the Hippies were a fantastic vector between East and West during the 60’s." - Many consider the 1960’s the “Golden Age” of Dalí’s prints, a decade that saw some of the most brilliant works to be produced by the artist. 41

Salvador Dalí Nude With Garter (6/6), 1985 Tapestry 62 x 49 in - Salvador Dali and Pierre Argillet decided to produce Dali’s work in tapestry because they wanted to produce art in a very large format to decorate the enormous walls of the castles they had individually built as their respective museums. - The pair selected images such as Nude With Garter from Dali's Hippies series, created in 1970-1971, to be hand woven into tapestries by Aubusson. - The tapestries play an essential role in the creation of a “Dalinian” atmosphere, wishing to ensure precise replication of the color and detail of the original engravings, Dalí and Argillet both oversee the weaving process which is done entirely by hand. There are only 13 different images created in editions of 6 with few proofs that exist. 42

Salvador Dalí Surrealist Bullfight "The Mills" (42/100), 1966 Hand colored etching 20 x 26 in

- The Mills is a hand-colored etching from Dalí’s Surrealist Bullfight series. Inspired from Picasso’s “Tauromachie”, these etchings epitomize Dali’s style with their burlesque touches. Bishops are seen blessing macabre parades, where the bull ends up in a grand piano, while a hallucinogenic matador, like a sad clown, gazes at the audience. Parrots and fish turn into toreadors, while a burning giraffe, a lion or a statue stand in the arena. Lastly, a huge monster coming out of a television set devours the whole scene. A catalan theme revisited by Picasso, then “dalinized”, the “Surrealist Bullfight” is seen as a ghoulish, delirious farce. - Many consider the 1960’s the “Golden Age” of Dalí’s prints, a decade that saw some of the most brilliant works to be produced by the artist. 43

DOIG, Peter Scottish, b. 1959

Peter Doig’s enigmatic paintings are characterized by their captivating combination of figurative depiction and dreamlike quality. Doig draws on personal memories from his childhood in Canada, as well as imagery sourced from photographs and films, to craft images that exist in fantastical, timeless spaces that feel both personal and universal. In Concrete Cabin (1994), one of Doig’s many depictions of Le Corbusier’s modernist apartment buildings, Doig depicts the pristine architectural monument against a dense, ominous forest, creating an uncanny tension that is integral to Doig’s work.

Peter Doig Untitled (Canoe) (409/500), 2008 Aquatint printed in colors on wove paper 23.50 x 29.50 in

GARNER, Kate British, b.1954

British photographer, fine artist, and singer, Kate Garner, has photographed a wide range of musicians and celebrities: from Anne Hathaway and Kate Moss to Dr. Dre and David Bowie. Garner first came widely into the public eye as onethird of the 1980s avant-garde, new wave pop project Haysi Fantayzee. Garner returned to painting, photography, and video, launching a successful media arts career in the late 1980s. Garner spotted Kate Moss amongst the hundreds of model cards at the Storm model agency to use in a shoot, and Moss, who was only 14 years old at the time, was given permission to leave school early and was chaperoned from Croydon to studios in Old Street, East London. Garner’s work has appeared in the American and British versions of Vogue and Harper’s Bazaar as well as W magazine, Interview, GQ, Vanity Fair, and Elle.

Kate Garner Kate Moss (Pink) (2/15), 1990 Archival Hahnemuhle print on paper 40 x 30 in

Kate Garner Kate Moss (Purple) (2/15), 1990 Archival Hahnemuhle print on paper 40 x 30 in 47

GASSIAN, French, b.1949

Claude

In the early 1970s, Gassian traded his guitar for a 35 mm camera and began photographing his favourite musical artists. Over three decades later, he has developed one of the most significant visual archives documenting the icons of contemporary music. More than simply portraits of wellknown musicians and performers, Gassian’s photographs are part of his greater search for that beautiful moment beyond the immediately recognizable. Presented with the obvious celebrity of his subjects, Gassian persists until he catches that individual mood or private thought behind the very public personality. In the process, Gassian captures a feeling that eclipses the subject itself. Gassian has shot virtually every major figure in music, including the Rolling Stones, Bob Dylan, Bob Marley, Lou Reed, David Bowie, and Patti Smith among many others. Many of Gassian’s images have been used as album covers, and have been published in numerous magazines and newspapers throughout the world. Currently, living and working in Paris, his work has been exhibited in museums and galleries in Europe and the United States. 48

Claude Gassian Keith Richards, Prague 1990 (5/10), 1993 Pigment print 14.20 x 21.70 in

Claude Gassian Leonard Cohen, Paris 1994 (2/10), 1994 Pigment print 21.40 x 14.20 in 49

HIRST, Damien British, b. 1965

Damien Hirst is a British Conceptual artist known for his controversial take on beauty and found-art objects. Along with Liam Gillick, Tracey Emin, and Sarah Lucas, Hirst was part of the Young British Artists movement that rose to prominence in the early 1990s. “I have always been aware that you have to get people listening before you can change their minds,” he reflected. “Any artist's big fear is being ignored, so if you get debate, that's great.” As a student at Goldsmiths College in London, his work caught the eye of the collector and gallerist Charles Saatchi, who became an early patron. Hirst’s The Physical Impossibility of Death in the Mind of Someone Living (1991)—a large vitrine containing an Australian tiger shark suspended in formaldehyde—was financed by Saatchi and helped to launch the artist’s career. Hirst went on to win the coveted Turner Prize in 1995. In 2012, he showed what went on to be one of his most controversial work in decades, the installation In and Out of Love, which consisted of two white windowless rooms in which over 9,000 butterflies flitted around and died. 50

Damien Hirst The Soul on Jacob's Ladder (71/155), 2005 Screenprint in colors on Somerset Satin paper 39.25 x 26.10 in

MCQUEEN, Gary James British

Gary James McQueen was first introduced to the fashion industry by his late uncle Alexander McQueen, who mentored and inspired him to be the artist he is today. As head textile designer for the Alexander McQueen MRTW the artist developed a niche of optical-illusion textile design, constantly pushing himself and the boundaries of what could be achieved using a 3D canvas as the basis. Gary James McQueen worked alongside Alexander McQueen up until his passing in 2010, and was trusted with many personal projects including the Chrome Skull artwork, which has become iconic as the face of the Savage Beauty Exhibition commemorating Alexander McQueen's life work. Today, Gary James McQueen combines a familial inheritance with his own artistic integrity to explore an innate dexterity for visual storytelling.

Gary James McQueen The Vanitas Skull (10/20), 2019 Lenticular Artwork Transition 62.50 x 47 in

Gary James McQueen The Flayed Angel (2/20), 2021 Lenticular Artwork Transition 48 x 38.50 in

PISSARRO, Lyora French, b. 1991

French artist Lyora Pissarro uses the word performative to describe her practice of both figurative and abstract works, which are rooted in painting. The artist explains: "My landscapes are mindscapes. They seek to explore inner worlds rather than attempt to capture the elusive reality of Nature. These paintings aim at translating perfect moments of clarity and stillness into a language made of color." Currently based between New York and London, Pissarro completed her formal education in Fine Art at Hunter College in NY after attending Rhode Island School of Design for her foundation year. The often dream-like landscapes of Pissarro’s work have much in common with the artist’s embrace of her artistic heritage as a direct descendent of Impressionist Camille Pissarro. Described as the ultimate young painter in GQ magazine, Pissarro has exhibited across the United States and in London.

Lyora Pissarro Lemon Licks and Lukewarm Love, 2020 Oil paint on board, LED lights embedded into frame 43.25 x 43.25 in

Lyora Pissarro The Orientation of Grounding in Time and Space,2020 Oil paint on board, LED lights embedded into frame 43.25 x 43.25 in 55

RICHTER, Gerhard

German, b. 1932

Gerhard Richter is known for a prolific and stylistically varied exploration of the medium of painting, often incorporating and exploring the visual effects of photography. “I like everything that has no style: dictionaries, photographs, nature, myself and my paintings,” he says. In the early 1960s, Richter began to create large-scale photorealist copies of black-and-white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed “photographic impressionism”) in which portions of his compositions appear smeared or softened—paradoxically reproducing photographic effects and revealing his painterly hand. With heavily textured abstract gray monochromes, Richter introduced abstraction into his practice, and he has continued to move freely between figuration and abstraction, producing geometric “Colour Charts”, bold, gestural abstractions, and “Photo Paintings” of anything from nudes, flowers, and cars to landscapes, architecture, and scenes from Nazi history.

Gerhard Richter Tulips (P17) (414/500), 2017 Diasec-mounted chromogenic print mounted on aluminum 14.17 x 16.14 in

SKETCH, Mila Russian, b. 1985

Mila Sketch is an award-winning artist based in Austin, TX. Sketch’s work leads viewers through a milliard of tiny perfectly connected details to a global & whole mechanism. She works with a set of symbols appealing to the viewer of diverse cultural backgrounds and age groups. Mila consistently creates captivating large-scale murals, fine art, and digital design. Her work has been exhibited across the United States as well as in Israel, Russia, and the United Kingdom. Sketch has created art for many reputable clients, such as Mazda USA, Google Fiber, SXSW, Hensel Phelps, and AustinBergstrom International Airport. Mila is currently representing the state of TX in the “Her Flag” 2020 National Art Project.

Mila Sketch Leviathan, 2021 Acrylic and ink on a canvas

36 x 48 in

Mila Sketch Territory Battle, 2020 Acrylic and ink on a canvas 36 x 18 in

VASARELY, Victor Hungarian-French, 1906–1997

Considered one of the progenitors of Op Art for his optically complex and illusionistic paintings, Victor Vasarely spent the course of a long, critically acclaimed career seeking, and arguing for, an approach to art making that was deeply social. He placed primary importance on the development of an engaging, accessible visual language that could be universally understood—this language, for Vasarely, was geometric abstraction, more commonly known as Op Art. Through precise combinations of lines, geometric shapes, colors, and shading, he created eye-popping paintings, full of the illusion of depth, movement, and three-dimensionality. More than pleasing tricks for the eye, Vasarely insisted, “pure form and pure color can signify the world.”

Victor Vasarely Pink Composition (175/300), 1980 Original serigraph on paper 9.88 x 22 in

VERGLAS, Antoine

French, b. 1962

Associated with the supermodel culture of the 1990s, Antoine Verglas was responsible for some of the period’s most famous images of such models as Naomi Campbell and Cindy Crawford. After beginning his career in Paris, Verglas moved to New York in 1990. Working for French Elle, he began photographing up-and-coming supermodels in their homes, creating intimate portraits that possessed a stripped-down, almost documentary aesthetic. After achieving success for this work, Verglas became a go-to name for major fashion publications such as Elle, Esquire, Sports Illustrated, and Vogue. His naturalistic, high-gloss aesthetic became a dominant style in the field and influenced many of the photographers who came after him.

Antoine Verglas Elle, Ibiza, 2004 Archival pigment print, mounted to Dibond 59.75 x 42.50 in

VITALI, Massimo Italian, b.1944

Best known for his large-format color photographs of beach scenes, Massimo Vitali has worked as a photojournalist, cinematographer, and fine arts photographer. Early in his career, Vitali developed mistrust in the capacity of documentary photography to reproduce the complexities of reality, which drew him away from photojournalism and instead towards a more conceptual practice. In his “Beach Series” (1995-), he photographed people on Italian beaches— shooting from podiums as high as five meters—as a commentary on the sinister elements, like “cosmetic fakery […] commodified leisure […] and rigid conformism,” behind scenes of supposed normality

Massimo Vitali Les Menuires Quartett 3 (No. 0568) (9/9), 1999 Mural-sized chromogenic print, mounted to acrylic, flushmounted to aluminum 59.25 x 75 in

WATSON, Albert British, b. 1942

Blind in one eye, Albert Watson studied graphic design prior to becoming a photographer. His manipulation of contrast and superior sense of composition distinguish his portraits of celebrities and models. With an emphasis on the formal and sculptural properties of his sitters' bodies, Watson's images have not only appeared in numerous American and European fashion magazines but also in museum and gallery exhibitions. In his famous nude photographs of Kate Moss taken on her 18th birthday in 1993, the model's spine pokes through the skin of her curved back, like the scales of a dinosaur, while the right side of her body is entirely shaded. In a 1989 portrait, Naomi Campbell's head is silhouetted against a gray surface, while her bare shoulders and the arch of her back are illuminated. In 2010 he was awarded the Royal Photographic Society's Centenary Medal and Honorary Fellowship.

Albert Watson Mayra in Fabric (1/5), 2009 Chromogenic print (c-print) 95 x 71 in

YOUNG, Russell

British, b. 1959

Russell Young is interested in the places where the glamour of the American dream meets the darkness of crime, addiction, and death. He explores this in series such as “Dirty Pretty Things” (2010), in which screen printed images of notoriously tragic stars Marilyn Monroe and Kurt Cobain are sprinkled with diamond flakes. Young began as a straightforward photographer of celebrities, getting his start shooting the cover for George Michael's Faith album. Gradually, he shifted his approach to become an artist whose work comments on the phenomenon of celebrity portraiture. Young emulates Andy Warhol's printing style, applying saturated color over screen printed images in which subjects appear blown up and grainy, as though printed on newsprint.

Russell Young Marilyn Monroe, 2008 Screenprint in colors on linen 62 x 47.5 in

Russell Young Red Revolver, 2008 Original serigraph in colors 40 x 55 in

NORTH AMERICA

BURTYNSKY, Edward Canadian, b.1955

Edward Burtynsky’s large-format color photographs document the ramifications of human industry on the natural world in a perversely beautiful manner. Bold swathes of color and rich texture render his images of mines, industrial refineries, shipbreaking yards, and other scarred landscapes from Detroit to Bangladesh, painterly. “Dryland Farming” (2011), an aerial series exploring how humans reshape natural topography through farming in a semi-arid, remote region of northern Spain, evokes abstract painting; seeing the colors and shapes from 2,000 feet above reminded the artist of Pablo Picasso’s Guernica (1937). Burtynsky intends his work to spark “a second look at what we call progress,” which has won him acclaim as an environmental champion as well as an artist; he received a TED Prize in 2005 for producing images that “powerfully alter the way we think about the world and our place in it.”

Edward Burtynsky Dam #6, Yangtze River, China, (4/10), 2005 Digital chromogenic print 26.50 x 34 in

DUTESCO, Roberto Romanian, b. 1961

Roberto Dutesco is a Canadian-born Romanian artist, best known for his photography projects that meld personal interest with environmental and natural subject matter. In his longest-running series, the artist documents the feral horses in Nova Scotia on Canada's Sable Island, capturing the animals in a variety of poses and settings. Born in Bucharest, Romania, Dutesco attended the Dawson Institute of Photography in Montreal before beginning a short career in fashion photography. Dutesco's oeuvre is eclectic, spanning the range between wildlife photography, formal abstraction, and political portraiture of world leaders such as Mikhail Gorbachev and the Dalai Lama. Stemming from both personal and political interest in his subject matter, his work has been exhibited worldwide in locations such as the Embassy of Canada’s Gallery in Washington, D.C., and at the 2005 World Expo in Japan in The United States Pavilion. Dutesco currently lives and works between Montreal, New York, and São Paulo, Brazil.

Roberto Dutesco Generations- The Wild Horses of Sable Island, 2012 Silver Gelatin print hand annotated by artist 59.87 x 75.50 in - Roberto Dutesco is best known for his photographs of Sable Island, a small island off the coast of Nova Scotia that is home to an estimated 400 wild horses, where the artist has returned for over 25 years. - Generations is one of the artist's favorite photographs and depicts a small herd of horses, a pony in the forefront, natural manes billowing with their rhythm and is an ode to the several generations of horses Dutesco has been witness to over his years at Sable Island. - This particular piece includes not only Dutesco's iconic Generations image, but is also hand annotated with original one-of-a-kind illustrations by the artist including geographic and imagined drawings, text about his experiences of the island, and nine additional photographs collaged to the bottom of the composition. 75

THE LOVE CHILD

Caribbean American

The Love Child, born Jay Gittens, is a self taught painter and street artist who describes his vision and expression as Pop Abstraction. Through the efforts of his mother, he emigrated on his own to Brooklyn from the island nation of Grenada in 2003. From there, he quickly turned to figure drawing as a means of creating companionship. He imagined and illustrated worlds on paper that he felt isolated from, drawing on the rich organic colors he was surrounded by in his former Caribbean home. Gittens has since been featured in numerous galleries across New York and the eastern seaboard, in addition to receiving press both domestically and internationally. His works, a mixture of brazen street style, yet intertwined with the depth and earnest emotion of fine art, has garnered him an admiring audience in art, fashion, and design the world over.

The Love Child Dimensional Portal, 2021 Acrylic, gold, and silver leaf on canvas 60 x 48 in

MAZZUCCO, Raphael Canadian

Raphael Mazzucco travels the world, shooting fashion, advertising, and celebrity portraits for leading brands, businesses, and magazines. He has shot bikini-clad models for the Sports Illustrated Swimsuit Issue; celebrities ranging from Adrien Brody to Olivia Newton John for a book project; and fashion spreads for publications including Vogue and Marie Claire. Though his schedule is constantly full of such commissions, he also finds time to pursue his own projects. Like his commercial work, his personal work is based in photography and centered upon gorgeous women. He begins with photographs of women in all manner of dress and undress, captured in the midst of action or still and posing. Over these images, Mazzucco paints, sketches, and splashes colorful pigment, creating an exuberant overlay of marks and brushstrokes in celebration of beauty and expression.

Raphael Mazzucco Simone, 2017 Mixed Media, Photography, encased in resin 40 x 60 in

SLONEM, Hunt American, b. 1951

Artist and collector Hunt Slonem is best known for huge NeoExpressionist oil paintings of tropical birds based on his personal aviary. His lavishly colored canvases are populated with rows of birds rendered with thick brushstrokes. “I was influenced by Warhol's repetition of soup cans and Marilyn,” Slonem says. “But I'm more interested in doing it in the sense of prayer, with repetition... It's really a form of worship.” According to The New York Times art critic Roberta Smith, “This witty Formalist strategy meshes the creatures into the picture plane and sometimes nearly obliterates them as images, but it also suspends and shrouds them in a dim, atmospheric light that is quite beautiful.” Besides the birds, Slonem also paints repetitions of flowers, bunnies, butterflies, as well as portraits, particularly of Abraham Lincoln.

Hunt Slonem Tanzania, 2018 Oil & Acrylic with Diamond Dust on Canvas 72 x 84 in

Hunt Slonem Matagalpa, 2018 Oil on Canvas 72 x 84 in 81

TRUJILLO, Matthew American

Born in Las Cruces, New Mexico, 31 year old working-artist Matthew Trujillo now calls Austin, TX his home. Matthew draws influence from fashion, music, architecture, design and beyond. His use of sharp, graphic-style facial expressions, mixed with contemporary design create striking presentations of modern pop art mixed with street style aesthetic. Successfully experimenting with the different light tones that bring more intensity and depth to his painting Tru creates mesmerizing art that sparks the imagination of the viewer and invites them to create their own story. Having gained a strong following across Texas, Tru was featured in the show Concrete to Canvas as a represented artist of HOPE Outdoor Gallery. Following the exhibition Tru was added to West Chelsea Contemporary's represented artist roster.

Matthew Trujillo In the Midst, 2020 Spray paint and acrylic 48 x 36 in

Matthew Trujillo Deconstructed Red 1, 2021 Mixed media, spray paint, acrylic, oil 30 x 40 in

SOUTH AMERICA

MUNIZ, Vik

Brazilian, b. 1961

Photographer and mixed-media artist Vik Muniz is best known for repurposing everyday materials for intricate and heavily layered recreations of canonical artworks. Muniz works in a range of media, from trash to peanut butter and jelly, the latter used to recreate Andy Warhol’s famous Double Mona Lisa (1963) that was in turn an appropriation of Da Vinci’s original. Layered appropriation is a consistent theme in Muniz’s work: in 2008, he undertook a large-scale project in Brazil, photographing trash-pickers as figures from emblematic paintings, such as Jacques-Louis David’s Neoclassical Death of Marat, and then recreating the photographs in large-scale arrangements of trash. The project was documented in the 2010 film Waste Land in an attempt to raise awareness for urban poverty. Muniz explained the work as a “step away from the realm of fine art,” wanting instead to “change the lives of people with the same materials they deal with every day.”

Vik Muniz Convergence: Number 10, after Jackson Pollock (from Pictures of Pigment), 2008 Chromogenic print 69 x 118 in - Convergence : No. 10 (After Jackson Pollock) is part of the artist's series Pictures of Pigment in which he uses pigment powder to reproduce emblematic paintings by Monet, Klimt, Matisse, and Rothko, among others. - The very quality of the material necessitates a particular handling, first of all owing to the toxicity of certain colors, and secondly because the dispersing powder must be protected from draft. With the help of brushes and little spoons, Muniz succeeds in precisely dropping the powder onto the surface. Once in contact with the surface, the powder can no longer be retouched. Finishing each work can take several weeks, and then every drawing, its size about 30 to 40 centimeters, is immediately photographed. The pictures are then enlarged to very big formats enabling us to perceive their voluptuous and tactile colors. 87 1

ON THE

WALL 'On the Wall' is WCC's most recent initiative that promotes the Austin art community by integrating a curated roster of emerging local talent in each of our exhibitions. WCC is excited to present our fifth capsule collection alongside The Austin International Art Fair. The artists selected have developed practices that engage with the landscape of contemporary art in their own unique styles. These artists have well earned their rightful place beside the Blue Chip icons and Modern Masters that comprise the WCC collection. This unique opportunity affords our collector community the ability to both discover and support influential artists on the rise.