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Yayoi Kusama Opening Her Own Museum in Tokyo

August 16th, 2017

Yayoi Kusama Infinity Room, via Art NewsArtist Yayoi Kusama is opening her own museum in Tokyo, the New York Times reports.  The five-story structure has been under construction for some time, but its purpose was just recently confirmed by David Zwirner Gallery. The museum will be directed by Tensei Tatebata, and will feature exhibitions centered around Kusama’s work.
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MoMA Extends Friday and Saturday Hours Until 9PM

August 16th, 2017

Louise Lawler. Pollyanna (adjusted to fit), distorted for the times. 2007/2008/2012. As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017. Dimensions variable. Courtesy the artist and Metro Pictures. © 2017 Louise LawlerThe Museum of Modern Art will stay open until 9PM on Fridays and Saturdays for the rest of the year, effectively extending its hours of free Friday admission as well. The museum’s late hours will offer extended opportunities for visitors to browse the collection through December 30th.
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Alberto Giacometti Drawings Discovered in Holdings of Late Antiques Dealer

August 16th, 2017

Giacometti Drawings, via The GuardianA set of drawings found in a London antique shop are believed to be lost works by Alberto Giacometti, The Guardian reports. The works were found while archiving the holdings of antiques dealer Eila Grahame, whose estate records showed some indication that the works might exist, but gave little detail of their contents. “At the time we didn’t know if it was two pieces of paper, two large sketches, whether they were done on the back of a cigarette packet or whether they were done on large canvases,” says Martin Millard, a director at Cheffins auction house, which is in charge of sorting through Grahame’s estate. “We didn’t know what we were looking for.”
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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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