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NEWS

London’s Vilma Gold to Close

March 27th, 2017

Vilma Gold, via Art NewsLondon gallery Vilma Gold has announced that it is closing its doors, and will explore new models of collaboration with its artists, Art News reports.  “The nature of the art world has changed significantly in recent years,” says director and owner Rachel Williams.  “Where a gallery was once centered around a physical space where artists, collectors and curators could engage directly with the exhibition program, the focus has now shifted towards an endlessly accelerating global cycle of fairs which has impacted on the relevance of this traditional model.”
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Canadian Budget Increases Funding for Arts by $1.8 billion

March 27th, 2017

CBC, via Globe and MailThe Canadian government has increased its arts and culture funding by $1.8 billion, including a sizable commitment to indigenous language programming.  “This investment will be delivered through the second phase of social infrastructure funding,” the budget reads.
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Tate Britain to Remain Open Until Midnight for Final Days of David Hockney Show

March 27th, 2017

david-hockney-via-art-newspaperTo cope with demand for David Hockney’s exhibition at the Tate Britain, the museum will remain open until midnight during the final weekend run in May.  “David is without a doubt one of Britain’s greatest living artists – his impact on art and culture is immeasurable. We anticipate this will be one of the most visited exhibitions in Tate’s history,” director Alex Farquharson says.
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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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