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Swiss Prosecutor Drops Investigation of Dealer Yves Bouvier

September 21st, 2021

The Geneva public prosecutor has dropped a criminal investigation into the operations of Swiss art dealer Yves Bouvier, the NYT reports. “Although there are still some gray areas as to the legal nature of the relationship between the parties, even on the assumption that Yves Bouvier was the agent of the complainants, the objective constituent elements of the offense have not been met,” the ruling reads.
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Met Museum to Sell Off Set of Prints and Photos to Cover Budget Shortfall

September 21st, 2021

The Met will sell off more than 200 prints and photos from its collection to raise funds amid a budget shortfall caused by the pandemic. “The Museum approaches deaccessioning with the same degree of strategy and deliberation as we apply to acquisitions “It will take years until we can expect the full return of tourism revenue,” says director Max Hollien.
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John Booth Takes Chair at National Gallery London

September 21st, 2021

John Booth, the venture capitalist and major donor to the Tory party is the new chair of the National Gallery. “I’m delighted to take up this role as the National Gallery prepares to celebrate its 200th anniversary in 2024,” Booth says. “The gallery’s amazing collection, including so many of the world’s greatest paintings, belongs to the whole nation and we look forward to sharing it afresh with visitors as we emerge from the pandemic, and as we continue to grow our international digital presence.”
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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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