After buying work at last week’s Frieze Los Angeles art fair, Kendall Jenner has had yet another big art-world coup—this time, appearing on the cover of Garage magazine.
Garage has unveiled the cover of its latest issue, which features the famed model as envisioned by artist Maurizio Cattelan. Campbell Addy, whose work recently appeared in critic Antwaun Sargent’s book The New Black Vanguard, a survey of black fashion photographers, shot the image in which a nude Jenner seems to emerge from a wall, her hands covering her breasts. The picture is an homage to Cattelan’s famed work Stephanie (2003), a sculpture that features collector Peter Brant’s wife, Stephanie Seymour, in a similar pose. That piece, which Cattelan has frequently called “Trophy Wife,” sold at a Phillips contemporary art auction in November 2010 for $2.4 million to Jose Mugrabi.
“I NEVER OWNED A CAR IN MY LIFE AND SUDDENLY I FOUND MYSELF IN A GARAGE,” Cattelan said in a statement. “A GARAGE OPEN 24/7 TO EXPERIMENTS THAT PARKS ONLY CARS RUNNING WITH PLATES FROM THE STATE OF CREATIVITY AND INNOVATION. BEWARE, WORKING INSIDE CAN BE EXHILARATING AND TOXIC BY ITS EXHAUSTING PIPES.“
The Garage cover is the first major Cattelan work since the artist showed Comedian, a banana duct-taped to a wall that was valued starting at $120,000, at Art Basel Miami Beach in December. Amid fanfare surrounding a spectacle that included hordes of onlookers gawking at Comedian in person and a performance artist who ate a version of the work, the piece was removed from the fair by Perrotin, Cattelan’s gallery, because the crowds had grown too difficult to control.
Garage editor-in-chief, Mark Guiducci, said in a statement, “In retrospect, the banana episode seems like a way to think about everything from fake news to viral fame to institutional distrust to wealth inequality. In the way that Jeff Koons was the artist of the glittery neon aughts, Maurizio Cattelan is the artist of our dystopian era. Like it or not.”