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KAWS Launches Exhibition in Fortnite Video Game

January 18th, 2022

KAWS is launching an online exhibition in the video game Fortnite, as well as one at London’s Serpentine Gallery. “Being able to create works,” the artist says, “and the version that I’m viewing in Brooklyn is the version you could be viewing in India, I just started to get really obsessed with the opportunities within that.”

Read more at The Guardian

Pissarro Work, Formerly Nazi Loot, Heads to US Supreme Court

January 17th, 2022

A Camille Pissarro work looted by the Nazis will head to US Supreme Court to hear a case over its ownership, as the descendants of Lilly Cassirer Neubauer sue for the painting’s return. “This has been three generations of the Cassirer family trying to take back what is theirs,” says attorney Stephen Zack of the US law firm Boies Schiller Flexner.

Read More at The Guardian

Jewish Museum Employees Vote to Unionize

January 17th, 2022

Employees at the Jewish Museum in New York have voted to unionize. “The Jewish Museum is aware that staff have petitioned for a union election,” a spokesperson said in a statement. “The Museum greatly values its staff and will respectfully engage in any process that transpires.”

Read more at Art Newspaper

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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