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New York Times Looks Into Maurizio Cattelan’s Still-Missing Gold Toilet

November 21st, 2019

The New York Times has a piece on the theft of Maurizio Cattelan’s gold toilet, noting that the work is still missing, and spotlighting a number of locals’ thoughts on just where the work might be.  “It’s on a building site,” says taxi driver Susan Hughes, “that’s my theory.” 
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Oscar Tuazon Profiled in LA Times

November 21st, 2019

Oscar Tuazon’s “hippie outlaw architecture” gets a profile in the LA Times this week, and how he has applied his work towards conversations and critiques of current policy around water and other environmental issues.  “Ideas and conversations around water rights and indigenous histories is also this really powerful part of the story,” he says. “And it shapes the way the design is evolving now — to take this structure and break it into its constituent parts and think about how it could work in different landscapes. It’s trying to kind of absorb and learn from those places.”
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LA Times Charts Challenges to MOCA’s New Free Admission Policy

November 21st, 2019

A piece in the LA Times showcases the challenges MOCA in Los Angeles is facing over offering free admission. “It’s as much about philanthropy as it is about a financial transaction for member benefits,” says Asa Hursh, MOCA’s membership and annual fund manager.
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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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