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Armory Show Announces List of Live Programs

February 20th, 2019

The Armory Show has announced its list of talks and programs for its Live section, set to open with the fair on March 7th. The program has targeted a number of hot button issues in modern America, including identity, politics and feminism. 
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Stephanie Gabriel to Head Up Marianne Boesky

February 19th, 2019

Stephanie Gabriel, previously a partner at Lehmann Maupin Gallery, will take over as director of Marianne Boesky Art News reports.  “Stephanie brings with her an incredible record of gallery leadership and wide range of long-standing relationships with artists and curators that will prove invaluable to our growing operations,” Boesky said in a statement.”
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Jasper Johns Profiled in NYT

February 19th, 2019

Jasper Johns gets a NYT profile this week, as he embarks on several busy months, leading up to a maj0r retrospective of his work at The Whitney.   The expansive piece charts the artist’s life and work, and his encounters in the post-war art scene in New York. 
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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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