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Whitney Launches Site Dedicated to Past Versions of Biennial

April 22nd, 2019

The Whitney Museum in New York has set up a digital platform for the Whitney Biennial as documentation for some of the prior exhibitions dating back nearly 90 years. 
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MoMA to Stage Dorothea Lange Show in 2020

April 22nd, 2019

MoMA will stage a show on Dorothea Lange in 2020, featuring 100 works culled from the museum’s collection, including pictures that were originally published in Life magazine and others produced for An American Exodus, a book on the Dust Bowl and its impact on the American South. The show is organized by curator Sarah Meister alongside River Bullock, a curatorial fellow at the museum, and intern Madeline Weisburg. “It seems both timely and urgent that we renew our attention to Lange’s extraordinary achievements,” Meister said in a statement.
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Hilma Af Klimt Show Becomes Guggenheim’s Most Visited Show in Its History

April 22nd, 2019

The Guggenheim’s Hilma Af Klint: Paintings for the Future has officially become the most-visited exhibition in the museum’s 60-year history, the museum has reported. The show has topped the impressive figure of 600,000 visitors. 
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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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