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Julian Schnabel Profiled in NYT

February 23rd, 2017

Julian Schnabel, via NYTJulian Schnabel is profiled in the New York Times this week, as the artist gives the paper a look at his recent work in preparation for upcoming shows in Aspen and New York.  “Do you know who the mayor of the town was when Van Gogh lived in Arles? Do you know who the president of the republic was? I don’t know,” he says. “But we know Van Gogh was there — a guy who was mistreated by everybody, and now there are souvenir shops selling posters of his paintings. It’s interesting that someone involved just in the process of putting paint on a canvas would have this resounding ripple effect over the years.”
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Protestors at MoMA Demand Ouster of Trump Advisor from Board

February 23rd, 2017

MoMA Protests, via HyperallergicProtests are taking place at MoMA this week, as a group of activists seek to unseat BlackRock CEO and Trump adviser Larry Fink from his seat on the museum board.  “Fink is not in Bannon’s camp.  He’s a liberal. He was talked about as a potential Clinton treasury secretary. But now he’s on Trump’s team,” the group said in a statement.  “And because Trump is waging a war of hate and lies against Muslims, Immigrants, women, LGBTQ, disabled, and the planet itself, one cannot reasonably advise or do any kind of business with this regime. To advise this regime is to normalize White Supremacy.”
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Argentina Pushing for Place on Global Arts Stage

February 23rd, 2017

Buenos Aires, via Art NewspaperAs Argentina invests more in cultural development, the Art Newspaper traces an increasing presence of its artists on the world stage, including an impressive number of galleries at this year’s ARCO Madrid fair.  “One of my main objectives,” says Horacio Rodríguez Larreta, the president of Buenos Aires, “is to promote what I call the creative or ­talent-based industries.”
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REFERENCE LIBRARY

Andy Warhol

Biography

“Andy Warhol began as a commercial illustrator, and a very successful one, doing jobs like shoe ads for I. Miller in a stylish blotty line that derived from Ben Shahn. He first exhibited in an art gallery in 1962, when the Ferus Gallery in Los Angeles showed his 32 Campbell’s Soup Cans, 1961-62. From then on, most of Warhol’s best work was done over a span of about six years, finishing in 1968, when he was shot. And it all flowed from one central insight: that in a culture glutted with information, where most people experience most things at second or third hand through TV and print, through images that become banal and disassociated by repeated again and again and again, there is role for affectless art. You no longer need to be hot and full of feeling. You can be supercool, like a slightly frosted mirror. Not that Warhol worked this out; he didn’t have to. He felt it and embodied it. He was a conduit for a sort of collective American state of mind in which celebrity – the famous image of a person, the famous brand name – had completely replaced both sacredness and solidity.

Earlier artists, like Monet, had painted the same motif in series in order to display minute discriminations of perception, the shift of light and color form hour to hour on a haystack, and how these could be recorded by the subtlety of eye and hand. Warhol’s thirty-two soup cans are about nothing of the kind. They are about sameness (though with different labels): same brand, same size, same paint surface, same fame as product. They mimic the condition of mass advertising, out of which his sensibility had grown. They are much more deadpan than the object which may have partly inspired them, Jasper Johns’s pair of bronze Ballantine ale cans. This affectlessness, this fascinated and yet indifferent take on the object, became the key to Warhol’s work; it is there in the repetition of stars’ faces (Liz, Jackie, Marilyn, Marlon, and the rest), and as a record of the condition of being an uninvolved spectator it speaks eloquently about the condition of image overload in a media saturated culture. Warhol extended it by using silk screen, and not bothering to clean up the imperfections of the print: those slips of the screen, uneven inkings of the roller, and general graininess. What they suggested was not the humanizing touch of the hand but the pervasiveness of routine error and of entropy…”

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