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Detroit Institute of Arts Launches Commitment to African-American Art

July 21st, 2016

DIA director Salvador Salort-Pons with a David Hammons work, via Detroit Free PressThe Detroit Institute of Arts as launched a multi-year commitment to deepen its holdings of African-American art, launching a new series of acquisitions, exhibitions, artist commissions, community partnerships, staff development and internships.  “We want to be the best,” says director Salvador Salort-Pons.
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Art News Traces the History of 57th Street as a New York Art World Mainstay

July 21st, 2016

The New York Gallery building, via Art NewsArt News takes an intriguing look at 57th Street, the original gallery district in New York, and its continued place in the New York art world.  “We have a lot of European artists we represent and I don’t think they were in love with Chelsea,” says Marian Goodman. “You see so many galleries in a row that you have to question the interest level [of visitors] after a while when they go to Chelsea. Very often they start to forget what gallery they’re in and what art they show.”
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Gagosian Gallery Agrees to Pay Over $4 Million in Back Taxes

July 21st, 2016

Larry Gagosian, via NYTGagosian Gallery has agreed to pay over $4 million in back taxes owed to New York State this week, the New York Times reports.  “Although we cannot comment on these findings, we accept and will fully comply with the terms of the settlement to bring closure to this matter,” the gallery said in a statement.  
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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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