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Painting Found in Walls of Italian Gallery Confirmed as Gustav Klimt

January 17th, 2020

A painting discovered inside the walls of an Italian art gallery has been confirmed as a Gustav Klimt. “It’s with no small emotion that I can tell you the work is authentic,” Piacenza prosecutor Ornella Chicca said in a statement.
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Felix L.A. Set to Open in February, William J. Simmons Takes on Special Projects Section

January 17th, 2020

The new edition of Felix LA is set to open next month, with William J. Simmons taking on curating the special projects. “I was thinking through imagination at this time when we’re beleaguered by questions of identity,” Simmons says. “We’re all kind of afraid. Where is the optimism in all of this? Where is queer and feminism optimism in all of this? These are artists who are engaging with hope and fear and criticality — and more often than not, they turned out to be queer people, or women-identified artists, or both.”
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Hayward Gallery’s Zoe Whitley Tapped as Head of Chisenhale Gallery

January 17th, 2020

Zoé Whitley, the current senior curator of London’s Hayward Gallery has been tapped as the new head of Chisenhale Gallery. “I’ve been inspired by Chisenhale Gallery’s program since I first became a curator,” Whitley said in a statement. “I’m honored to have been selected to lead its next chapter as director and excited by the challenges and possibilities for artistic collaborations to come.”
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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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