Alex Katz (b. 1927, Brooklyn, New York) is one of the most influential and distinctive figures in contemporary American art. Renowned for his crisp, flat surfaces, bold use of colour, and striking economy of line, Katz forged a unique visual language that emerged in the 1950s in contrast to the dominance of Abstract Expressionism in the 1940s and 1950s. His style — often seen as a precursor to Pop Art that emerged in the 1950s and flourished in the 1960s in America and Britain — melds elements of abstraction and representation, with influences ranging from Henri Matisse to mid-century American culture, film, and advertising.Over a prolific seven-decade career, Katz has created an expansive body of work encompassing portraiture, landscape, sculpture, and printmaking. His most iconic subjects include his wife and lifelong muse Ada, as well as friends, dancers, and fashionably dressed figures, often depicted in cropped, cinematic compositions that exude cool detachment and modern elegance. In his later years, Katz turned his focus toward nature, exploring light, seasons, and atmosphere in immersive large-scale landscapes.Katz has held over 200 solo exhibitions worldwide and his work is housed in major public collections including MoMA, the Whitney, the Tate, and Centre Pompidou. In 2022, he was honoured with a major retrospective at the Guggenheim Museum, and in 2024, his monumental seasonal landscapes were displayed at MoMA in New York. That same year, he was awarded the National Medal of Arts by the White House, recognising his enduring impact on American visual culture.Katz lives and works in New York City and Lincolnville, Maine, continuing to paint “the immediate present” with timeless clarity and vision.

Alex Katz

With flat planes of rich, lovely color, Alex Katz’s landscapes and portraits evoke the smooth aesthetics of advertising billboards and film.

https://data.wengcontemporary.com/media/AlexKatz_WhiteVisor_ContentSheet_R1ZGzbj.pdf

With its clean lines and striking contrast, White Visor (2004) exemplifies Katz's signature style—flat, graphic imagery that captures the subject's presence in a serene yet dynamic manner. The simplicity of the composition, paired with Katz's masterful use of colour, invites the viewer to connect with the figure's confident, modern demeanour. The artist intentionally avoids traditional techniques like texture or perspective, choosing instead to focus on flatness and colour to convey meaning.&nbsp;This piece perfectly illustrates Katz’s ability to transform ordinary moments into captivating visual statements, seamlessly blending elegance with accessibility. It evokes a sense of grace and contemporary flair while maintaining an undeniable connection to the world around us.&nbsp;The vibrant colours, especially the bold white of the visor against a bright blue backdrop, serve to intensify the figure’s presence and draw the viewer's gaze. Katz’s portraits are renowned for their calm, almost cinematic quality, where each figure feels both familiar and iconic.

White Visor

ARTXX

Aquatint in colours, on Somerset Velvet paper

https://data.wengcontemporary.com/media/AlexKatz_BlueHat_ContentSheet.pptx.pdf

Alex Katz's Blue Hat (2004) is a perfect example of his unique style, which has had a lasting impact on contemporary figurative art. The picture, viewed up close like a cinematic snapshot, draws us into an intimate connection with the figure. Katz intentionally avoids traditional techniques like texture or perspective, choosing instead to focus on flatness and colour to convey meaning.&nbsp;For him, colour is a way to express emotion, and he felt that to truly experience the vibrancy of these hues, everything that isn't colour had to be toned down. In the painting, for instance, two sailboats are barely noticeable on the horizon, and the only real decoration is the woman’s headscarf.&nbsp;The portrayed woman is Katz’s wife, Ada, who has appeared in many of his works over the years. The simplicity of the composition brings about a sense of fleetingness, almost like a bittersweet memory — a story that feels just beyond our reach. This feeling is reinforced by Ada's uncertain expression, which feels both mysterious and intriguing. She gazes toward something behind the viewer, making us wonder what she’s looking at. Katz strikes a perfect balance here, creating a sense of realism while deliberately leaving out anything that could offer easy answers.&nbsp;What we’re left with is a feeling of mystery, with the figures caught between revealing and hiding their true selves.

Blue Hat

https://data.wengcontemporary.com/media/Alex_Katz_Vivien_in_Black_Hat_Content_Sheet_dDRm6BM.pdf

Vivien in Black Hat (2010) is a screen print by Alex Katz, part of his striking Black Hat series of the same year. The subject is filmmaker Vivien Bittencourt — Katz’s daughter-in-law — who, alongside her husband, created the documentary “Alex Katz: Five Hours” (1996), capturing the artist’s process while working on January 3 (1993).&nbsp;In this portrait, Vivien is portrayed wearing a wide-brimmed black hat and sunglasses, lending her an air of cool detachment and enigmatic presence. Rendered in 34 carefully layered colours, this limited edition exemplifies Katz’s signature minimalist style, featuring crisp contours and a solid, monochromatic background that amplifies the figure’s silhouette. The result is a composition that feels fresh, bold, and quietly captivating.

Vivien in Black Hat

34-color screenprint on Rives BFK paper

The Black Dress has been a recurrent theme in Alex Katz' work since the very beginnings. The theme of the edition goes back to one of his most iconic early paintings, which is indeed titled "Black Dress" and depicts 6 different perspectives of a woman wearing a classical, Breakfast-at-Tiffany like black shift dress. These paintings date back to 1960 and are owned by the Brandhorst collection in Munich. 
Ulla is a model who Alex Katz has often portrayed. She poses wearing a unique style of a little black dress, looking confident and elegant, classy but at the same time almost snobbish. Ulla has all of Katz' main themes in it: the Black Dress, the Women, the seriality and the coolness with which Katz portraits his models.
The present edition is a variation on the "Black Dress" theme, where the artist employs the medium of a cutout from shaped powder-coated aluminum, printed the same on each side with UV cured archival inks, clear coated, and mounted to 1/4 inch stainless steel base. The work is engraved with the artist signature on top of base; stamped with edition number and artist & publisher copyright, base underside.

Black Dress 5 (Ulla)

Weng Fine Art

Cut-out

Ai Weiwei (b. 1957, Beijing) is one of the most influential artists and provocateurs of our time. He is celebrated for blending Chinese history and tradition with artistic expression and political activism, all within a wholly contemporary practice. Beyond traditional mediums, his artistic work extends to architecture, documentary filmmaking, and large-scale public installations, each serving as a form of human rights activism, cultural commentary, and critiques of the global imbalance of power.&nbsp;Born into exile due to his father’s political persecution, Ai Weiwei's early life was marked by hardship, shaping his lifelong commitment to questioning authority. This commitment has often made him a political target in the past. He studied at the Beijing Film Academy before moving to New York in the 1980s, where he was influenced by conceptual art and artists such as Marcel Duchamp and Andy Warhol. Returning to China in the 1990s, Ai Weiwei emerged as a key figure in contemporary Chinese art while also co-founding independent art spaces and experimenting with radical forms of artistic expression. After years of surveillance and restrictions, he was eventually allowed to leave China in 2015 and has since lived in Germany, the United Kingdom, and Portugal.&nbsp;Ai Weiwei gained international recognition through powerful works such as Dropping a Han Dynasty Urn (1995), Sunflower Seeds (2010), Neolithic Vase with Coca Cola Logo (Gold) (2015), Illumination (2019), and Straight (2008–2012), a poignant memorial to the victims of the 2008 Sichuan earthquake. Ai Weiwei’s works are held in major museums worldwide and have been exhibited in leading institutions such as Tate Modern, the Royal Academy of Arts, and the Venice Biennale. His relentless pursuit of truth and justice, coupled with his innovative artistic vision, continues to inspire global audiences and redefine the role of art in society. As Ai Weiwei himself asserts, “Everything is art. Everything is politics.”

Ai Weiwei

Dissident artist Ai Weiwei is famous for conceptual artworks that challenge authority and explore the links between the contemporary world and traditional Chinese culture.

https://data.wengcontemporary.com/media/Ai_Weiwei_Papercut_Portfolio_Content_sheet_compressed_2.pdf

The Papercut Portfolio (2019) by Ai Weiwei is a striking fusion of traditional Chinese craftsmanship and contemporary political commentary. This limited-edition collection consists of eight intricately designed papercuts, each reflecting pivotal moments from Ai Weiwei’s artistic and political journey. Inspired by the centuries-old Chinese tradition of papercutting — historically used for storytelling, decoration, and spiritual symbolism — Ai Weiwei transforms the medium into a bold visual narrative. Rendered in large-format, vibrant red fine-art paper, the works encapsulate themes from his early days in New York in the 1980s, his engagement with Chinese heritage upon returning to Beijing in the 1990s, and his later activism confronting censorship and state control.Accompanied by explanatory notes from writer Chin-Chin Yap, the portfolio offers an intimate glimpse into Ai Weiwei’s evolving artistic practice. The works feature iconic motifs from his career, including the Bird’s Nest stadium, his Study of Perspective (1995–2003) middle-finger gesture, and references to politically charged installations such as Sunflower Seeds (2010) and Map of China (2003). Through this medium, Ai Weiwei juxtaposes themes of displacement, resistance, and cultural identity, reinforcing his belief that art is a form of free expression and social responsibility. The Papercut Portfolio serves as both a retrospective of Ai Weiwei’s groundbreaking work and a powerful statement on the intersection of art, politics, and human rights.

The Papercut Portfolio

Papercuts in clothbound clamshell box (Portfolio of 8)

https://data.wengcontemporary.com/media/Ai_Weiwei_Study_of_Perspective_in_Glass_sets.pptx_Bk9kIk4.pdf

At the core of his production, Ai Weiwei investigates and questions institutions and regimes by measuring human existence in relation to economic, political, and social forces.&nbsp;The middle finger has been a recurrent theme in his artistic oeuvre. His photographic series Study of Perspective (shot from 1995 to 2003) shows the artist flipping the middle finger in front of iconic landmarks across the globe. The gesture represents a universal and concise statement of political opposition and the rejection of any form of oppression against human freedom.&nbsp;This iconic gesture has been translated into an equally iconic Murano glass sculpture, and the result is a powerful yet elegant object. The sculpture, made from the artist's own handcast, embodies the deep and engaged message of Study of Perspective while meeting the glass' airy and light qualities, consequently producing a rare effect of beauty and mystic power.

Study of Perspective in Glass (Set of 6)

Murano Glass Casting

https://data.wengcontemporary.com/media/Ai_Weiwei_Study_of_Perspective_in_Glass_sets.pptx_Ld8xb9v.pdf

At the core of his production, Ai Weiwei investigates and questions institutions and regimes by measuring the human existence and human condition in relation to economic, political, and social forces.&nbsp;The middle finger has been a recurrent theme in his artistic oeuvre. His photographic series Study of Perspective (shot from 1995 — 2003) shows the artist flipping the middle finger in front of iconic landmarks across the globe. The gesture represents a universal and concise statement of political opposition and the rejection of any form of oppression against human freedom.&nbsp;This iconic gesture has been translated into an equally iconic Murano glass sculpture, and the result is a powerful yet elegant object. Murano glass, known for its centuries-old craftsmanship and artistic excellence, holds historical significance as a material associated with both fragility and resilience — qualities that parallel Ai Weiwei’s ongoing dialogue on freedom and resistance. The delicate yet bold nature of Murano glass enhances the tension between defiance and vulnerability in Study of Perspective in Glass (2020), reinforcing the artist’s vision through a material that is both ancient and contemporary. The sculpture, made from the artist's own hand-cast, embodies the deep and engaging message of Study of Perspective while meeting the glass' airy and light qualities, consequently producing a rare effect of beauty.

https://data.wengcontemporary.com/media/Ai_Weiwei_Vases_in_five_colours_Content_Sheet_CCvEGIc.pdf

Ai Weiwei’s Vases in Five Colours (2024) continues the artist’s long-standing interrogation of cultural identity, commercialisation, and artistic heritage. This series of five Murano glass vases—rendered in blue, green, mustard, black, and white—pays homage to traditional Chinese ceramics while embedding them within a globalised context. The vibrant hues reference ancient Chinese glazes, yet their sleek, translucent surfaces betray a contemporary sensibility. By employing Murano glass, a material deeply tied to Venetian craftsmanship, Ai Weiwei merges two artistic traditions, challenging notions of authenticity and ownership. The interplay between the artisanal and the mass-produced echoes his broader critique of cultural commodification and the impact of Western capitalism on Chinese heritage.&nbsp;These vases are more than decorative objects; they are vessels of contradiction. The Coca-Cola emblem, a ubiquitous symbol of consumer culture, disrupts the historical reverence associated with ceramic traditions, much like Ai Weiwei’s earlier works starting in 1994, where he painted the logo onto 2,000-year-old Han-dynasty urns. His works such as Dropping a Han Dynasty Urn (1995) and Han Jar Overpainted with Coca-Cola Logo (1995) are iconic examples of how he provocatively addresses China's historical confrontation with Western influences. Here, however, the medium itself shifts the conversation. The fragility of glass contrasts with the permanence of branding, suggesting both the resilience and vulnerability of cultural identity in an increasingly homogenized world.

Vases in Black and White (Set of 2)

Murano Glass

https://data.wengcontemporary.com/media/Ai_Weiwei_Guardian_Content_sheet_gdufWrN.pdf

Ai Weiwei’s Guardian (2024) was created using an innovative technique that mimics the tactile qualities of ceramic tiles or cast concrete through silkscreen printing. The process begins with a gold ink base, densely packed with metallic pigment and glitter, which is then layered with vibrant red ink. This method produces a striking visual effect, where intricate illustrations emerge through negative space.The artwork is a compelling fusion of traditional Chinese symbolism and contemporary socio-political commentary. Ai Weiwei depicts himself as a Door God, a powerful figure in Chinese folklore believed to protect homes from harmful forces. By intertwining his personal narrative with cultural heritage, he reimagines this divine guardian as a defender against the adversaries of art and justice—censorship, propaganda, corruption, and surveillance.The colour palette carries deep significance: red and gold, emblematic of good fortune and prosperity in Chinese culture, also evoke themes of justice and revolution. Through Guardian, Ai Weiwei continues his tradition of using art as a form of resistance, seamlessly blending ancient symbols with modern struggles. Like much of his oeuvre, this piece serves as a powerful reminder of the ongoing fight for truth and justice, making it especially resonant in today’s socio-political landscape.

Guardian

2 colour silkscreen with a metallic glitter base layer, printed on 410gsm Somerset Tub Sized Radiant White paper

https://data.wengcontemporary.com/media/Ai_Weiwei_Wo_ist_die_Revolution_Content_Sheet.pdf

For his major exhibition "Everything is Art. Everything is Politics" took place from May 18 to September 1, 2019, at the Kunstsammlung Nordrhein-Westfalen, Ai Weiwei has created a new photographic self-portrait in which he confronts the viewer head-on. The reference to Joseph Beuys’ famous 1971 poster La Rivoluzione Siamo Noi is a clear homage to a kindred spirit—but it also highlights a fundamental difference in the political consciousness of their times.&nbsp;While Beuys’ slogan (translated as “we are the revolution”) is rooted in the conviction that art can bring about revolutionary change, Ai Weiwei’s question ‘Where’s the revolution?’ is almost ironic, shaped by the political pragmatism of an activist persecuted during the Chinese Cultural Revolution. Yet this does not diminish the optimism of the image: this man is searching, he is on a journey — something Ai Weiwei continues to demonstrate through his multifaceted work. The work is based on Ai Weiwei´s life-size proportions, making his confident stride towards the viewer all the more powerful, as if ready to dynamically step out of the image, in a confrontational way but also encouraging the viewer to join him towards a revolution.

Wo ist die Revolution?

Inkjet print

Jia Aili (b. 1979, Dandong, China) is a Chinese contemporary artist celebrated for his large-scale, psychologically charged paintings that blend realism, fantasy, and dystopian allegory. Trained at the Lu Xun Academy of Fine Arts, Jia’s work reflects the complexities of a rapidly transforming China while grappling with universal themes of technology, mortality, and isolation.His canvases—often vast in scale and populated by fragmented bodies, surreal machinery, and desolate landscapes—evoke both post-apocalyptic anxiety and spiritual introspection. Merging classical painting techniques with a distinctly modern sensibility, Jia’s visual language recalls both Western art history and Chinese Socialist Realism, filtered through a lens of existential unease.Deeply influenced by literature, philosophy, and science, Jia Aili creates emotionally resonant works that suggest both collapse and renewal. Figures drift through his compositions in astronaut suits, gas masks, or states of undress—symbols of both fragility and resistance in a changing world.Jia’s practice challenges the boundaries between personal and collective trauma, and between past and future. His work has been exhibited internationally at institutions such as the Fondation Louis Vuitton, Palais de Tokyo, and the Ullens Center for Contemporary Art (UCCA), and is included in major public and private collections worldwide.

Jia Aili

Jia Aili is a Chinese contemporary artist born in 1979 in Liaoning province, China. His pieces feature the dark side of human progress and warfare, including symbols like&nbsp;gas masks,&nbsp;industrial waste, the&nbsp;hammer and sickle sign, and&nbsp;mushroom clouds.&nbsp;

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Hermit_Content_sheet_2024_NEW_BRANDING_hYninNo.pdf

This iconic artwork series fully encapsulates and reflects the main themes and masterful work of this incredible artist.&nbsp;The very elements that have characterised his impressive career create a true&nbsp;immersive experience, where Aili's post-apocalyptic vision comes to life in all its&nbsp;evocative power.&nbsp;In this deep dark submersion, the viewer can almost&nbsp;feel the cold, the&nbsp;humidity of the air, and the&nbsp;isolation.&nbsp;The hefty atmosphere weighs on the audience like an eerie omen.&nbsp;

Engine

HI-RND© print on paper. Floating Alu frame.

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Hermit_Content_sheet_2024_NEW_BRANDING.pdf

Hermit

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Content_sheet_2024_aBQvdLJ.pdf

This iconic artwork series fully encapsulates and reflects the main themes and masterful work of this incredible artist.&nbsp;&nbsp;The very elements that have characterised his impressive career create a truly&nbsp;immersive experience, where Aili's post-apocalyptic vision comes to life in all its&nbsp;evocative power.&nbsp;&nbsp;In this deep dark submersion, the viewer can almost&nbsp;feel the cold, the&nbsp;humidity of the air, and the&nbsp;isolation.&nbsp;The hefty atmosphere weighs on the audience like an eerie omen.&nbsp;

Snow Mountain

Douglas Gordon (b. 1966, Glasgow, Scotland) is an internationally acclaimed artist whose multidisciplinary practice spans video, film, installation, sculpture, photography, text, and sound. Known for his conceptual rigor and psychological depth, Gordon’s work explores themes of memory, morality, duality, and the disruption of perception. Using found footage, literary references, religious symbolism, and his own recordings, he probes the human condition through acts of distortion and repetition.Gordon studied sculpture and environmental art at the Glasgow School of Art (1984–88) and earned his MFA at the Slade School of Fine Art, London (1988–90), where he began engaging deeply with the cinematic medium. His breakthrough work, 24 Hour Psycho (1993), stretched Alfred Hitchcock’s classic film to a full day’s duration, dramatically altering its psychological impact and challenging viewers' relationship to time and narrative.Binary oppositions—good and evil, light and dark, life and death—are central to Gordon’s work, often explored through haunting juxtapositions and conceptual subversion. In Three Inches Black (1997), a tattooed fingertip becomes a meditation on violence and intimacy. In Between Darkness and Light (after William Blake) (1997), he screens a film about divine revelation simultaneously with one about demonic possession, blending sacred and profane.Gordon’s work has been widely exhibited in major institutions including MoMA New York, Tate Britain, Hayward Gallery, Musée d’Art Moderne de la Ville de Paris, Neue Nationalgalerie Berlin, and ARoS Aarhus. He represented Britain at the Venice Biennale and participated in Documenta 14 (2017). He received the Turner Prize in 1996 and has also been recognized at major film festivals including Cannes, Venice, and Toronto.

Douglas Gordon

Throughout his diverse practice—spanning photography, video, performance, sound, and text-based work—Douglas Gordon recontextualizes familiar images and artworks, distorting time, language, and other aesthetic aspects to challenge viewers’ perception, expectation, and memory.

https://data.wengcontemporary.com/media/Douglas_Gordon_Portrait_of_a_Self_Portrait_of_a_Self_Content_sheet_NEW_BRANDING_Compress_8veHm6y.pdf

Icons of the artist’s oeuvre are his Self-Portraits, where Gordon uses real flames to erode Hollywood paradigmatic figures, such as Marilyn Monroe, Elvis Presley and James Dean. The fire corrodes specific elements of the represented characters, such as the eyes, noses and mouths. The remain untouched parts are then assembled on reflective, mirror-like surfaces, which denote Gordon’s interest in phenomenological experiences. The resulting surfaces details are the most compelling elements of these editions, where solidified drops meet the burnt areas, in a ambiguous encounter of elements. In an interview given to The Talks, Gordon jokingly admitted that he set his jeans on fire by accident during one of these burning sessions at Gagosian's in New York.

Portrait of a Self Portrait of a Self, as Marilyn

Print on canvas, inner frame, Dibond backplate

Tracey Emin (b. 1963, London) is one of Britain’s most prominent contemporary artists, known for her deeply personal, confessional, and emotionally raw work across media including drawing, painting, installation, sculpture, film, photography, neon, and embroidery. A leading figure of the Young British Artists (YBAs), Emin first gained public attention in the 1990s for works that defied convention and embraced vulnerability, memory, and autobiography.Her breakthrough came with Everyone I Have Ever Slept With 1963–1995 (1995), a tent appliquéd with names of everyone she had shared a bed with—family, lovers, and unborn children. In 1999, she was shortlisted for the Turner Prize with My Bed, an unflinching installation of her own unmade bed surrounded by personal debris, capturing a moment of profound emotional crisis. These works, both iconic and controversial, redefined intimacy and confession in contemporary art.Emin’s practice is rooted in self-portraiture and life experience, confronting themes of love, sexuality, trauma, illness, and mortality with striking honesty. Her neon text works, embroidered quilts, and raw figural drawings extend her exploration of the female body and inner life. More recently, her large-scale sculpture The Mother (2021), permanently installed beside Oslo’s Munch Museum, honors both her own mother and Edvard Munch’s legacy—an artist who deeply influenced her.In 2020, following a cancer diagnosis and major surgery, Emin returned to painting with renewed intensity, channeling her physical and emotional reality into gestural, urgent works. She lives and works between London, the South of France, and Margate, where she founded TKE Studios and a free residency program for emerging artists.Emin has exhibited internationally, with major shows at Tate Britain, the Musée d’Orsay, Munchmuseet, and the Royal Academy. She was appointed Professor of Drawing at the RA in 2011 and was made a Dame in 2024 for her services to art.

Tracey Emin

Tracey Emin’s poetic, confessional practice spans film, painting, neon, embroidery, drawing, installation, and sculpture.

https://data.wengcontemporary.com/media/Tracey_Emin_A_Journey_To_Death_2021_Set_of_10_Content_Sheet_LrQlGm4.pdf

A Journey To Death explores the trauma of surgery for the cancer that almost claimed her life. Tracey Emin has been painting, drawing and photographing herself for a long time, but these latest nudes are her grandest and most painfully resonant work yet. Emin has always made art about her physical existence and subjects that had felt unspeakably private, from sexual assault, devastating heartbreak, and ambivalence around motherhood, grief and longing, to adolescent sexuality and menopause. Her work offers companionship for many women going through difficult and painful experiences.Made in 2021, in these spindly blue-black works she is feeling her way through to a route back into art. Most works in the portfolio express pain, though there is also hope in some instances: the faces of her kittens Pancake and Teacup appear Then I Wasn’t Alone Life Was Here, as emblems of life that will go on. The text also makes its way into her work, as it so often has in the past. “It was inside – always inside,” she writes, the words hovering above her head in Even Saying Nothing is a Lie. It’s a vivid, horrifying expression of a haunted body: the realisation that a hostile presence has manifested within, attacking silently from the inside.In making herself the subject of her work, and concentrating intensely on figuration, Emin creates bridges with the rich art-historical tradition of the female figure and female nudes. She shows strong emotive force in these pictures, as seen for example in the work of male painters Munch and Schiele, which Emin admires and studied throughout her artistic oeuvre.

A Journey To Death (Portfolio of 10)

2 colour lithograph on Somerset Velvet Warm White 400 gsm

The Black Dress has been a recurrent theme in Alex Katz's work since the very beginning. The theme of the edition goes back to one of his most iconic early paintings, which is indeed titled "Black Dress" and depicts 6 different perspectives of a woman wearing a classical, Breakfast-at-Tiffany-like black shift dress. This painting dates from 1960 and is owned by the Brandhorst collection in Munich. The actual composition for the edition refers to the original painting "Black Dress" from 2010. "Black Dress" is a series of 9 life-size, hand-pulled silkscreens of some of the models Katz has painted over the years, all of them in a similar pose leaning against a yellow background and wearing a unique style of a little black dress (LBD) and black heels. All of them look elegant and classy but are at the same time posing in a relaxed and almost snobbish manner. This edition is one of the most elaborated edition projects Katz has ever done, and certainly the one which is destined to become his masterpiece edition. It has all of Katz's main themes in it: the Black Dress, the women, the black and yellow colour blocking, the seriality and the coolness with which Katz portrays his models.

Black Dress (Portfolio of 9)

Silkscreen

https://data.wengcontemporary.com/media/Ai_Weiwei_Vases_in_five_colours_Content_Sheet_XE1b3WY.pdf

Vases in Five Colours (Set of 5)

Jeff Koons (b. 1955, York, Pennsylvania) is one of the most influential and controversial artists of our time, known for his bold, large-scale sculptures and glossy, photorealistic paintings that reflect on contemporary culture, consumerism, and the art historical canon. Emerging in the 1980s, Koons became a key figure in the dialogue around art and spectacle in a media-saturated world. With a stated aim to "communicate with the masses," his work draws on everyday objects, popular culture, and classical imagery, elevating the banal to the monumental.Koons studied at the Maryland Institute College of Art and the School of the Art Institute of Chicago, receiving his BFA in 1976. His first solo exhibition was in 1980, and since then, his practice has evolved from assemblages of found objects to iconic sculptures like Balloon Dog and Puppy, towering figures rendered in polished stainless steel or flowering topiary. Through series such as Banality, Celebration, Popeye, and Gazing Ball, Koons reinterprets familiar images and kitsch objects with dazzling surfaces, often provoking dialogue about taste, value, and authenticity.His work often references the readymade tradition of Marcel Duchamp, merging mass-produced aesthetics with deeply personal and metaphysical themes. Whether through inflatable cartoon characters, hyperrealistic sculptures, or mirrored glass orbs, Koons explores ideas of transcendence, sexuality, innocence, and self-reflection.Koons has exhibited globally, with major retrospectives at the Whitney Museum of American Art, Centre Pompidou, Guggenheim Bilbao, and Palazzo Strozzi, among others. His work is held in numerous prestigious public collections, including MoMA, Tate, and the Broad. He lives and works in New York.

Jeff Koons

One of the most famous artists working today, Jeff Koons makes gleeful, tongue-in-cheek sculptures, paintings, and installations that border—and often cross—the edge of good taste.

https://data.wengcontemporary.com/media/Jeff_Koons_Balloon_Dog_Blue_Content_Sheet_2024.pdf

This most iconic artwork series of the 21st century is a reproduction of the larger sculpture of the Balloon Dog from the Celebration series (1994-2000), as conceived in five unique colours (Blue, Magenta, Yellow, Orange, Red).The magic attraction of Balloon Dog lies in its ability to convey charm, power and material precision at once. Its equestrian shape resembles the heroic statuary trope that populates public spaces across the globe. Koons himself called this piece the "Trojan horse“ of the Celebration series.The Balloon Dog has chameleon-like qualities; its reflective surface is capable of physically changing with its surroundings and its many-layered meanings make it conceptually change in the mind of each viewer.The production of this artwork requires 60 people and takes a full month to complete. Its fashioning combines traditional porcelain decoration techniques with new technologies which are not typically applied to ceramics; this combination allows to achieve its specific metallic and reflective characteristics.Each piece is signed on the inside front right leg and the signature is applied on top of the porcelain and fired in the oven.

Balloon Dog (Blue)

Limoges porcelain with chromatic coating

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