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Congresswoman Nydia Velazquez Introduces Bill Easing Student Loan for Arts Workers

June 28th, 2017

Nydia VelazquezNew York State Representative Nydia Velazquez has introduced legislation in the House of Representatives to ease student debt for those working in the arts by $10,000.  “Those working in the arts and related fields make invaluable contributions to New York City and to our entire nation,” said Velázquez. “Individuals that dedicate themselves to these professions enrich our culture and my bill would provide many of them with relief from mounting student loan debt.” 
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François Pinault to Convert Paris’s Bourse de Commerce Into Massive Art Museum

June 27th, 2017

Bourse de Commerce, via The GuardianFrançois Pinault and architect Tadao Ando are teaming up to convert Paris’s Bourse de commerce into a massive art museum, The Guardian reports.  The new exhibition site will serve as a permanent home for the luxury goods magnate’s €1.25 billion art collection.  “These are tumultuous times in Europe – the recurring terrorist incidents and the UK withdrawal from the EU have fueled anxiety over what the future holds, and countries and people alike seem unsure of their own identities,” Ando said of the project, hoping that it might “renew hope in the future.”
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The Guardian Tours Renzo Piano-Designed Centro Botin Gallery

June 27th, 2017

Centro Botin, via The GuardianThe Guardian takes a tour of the Centro Botin in Santander, Spain this week, the recently completed art gallery designed by Renzo Piano, which has already earned praise for its daring architectural design, levitating 20 feet above ground on a series of slender pillars.  “From the very beginning, I wanted the building to fly,” Piano says of his design.
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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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